JAPAN
AT THE
WORLDS COLUMBIAN EXPOSITION
4 Ae a OE eae es ee
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3
JAPAN.
AGRICULTURAL BUREAU,
DEPARTMENT OF AGRICULTURE AND COMMERCE.
A
DESCRIPTIVE CATALOGUE
OF THE
AGRICULTURAL PRODUCTS,
EXHIBITED IN THE
WORLD'S COLUMBIAN EXPOSITION.
o
TOKIO, JAPAN, 1893.
PRINTED BY SEISHIBUN- SHA.
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CONTENTS.
aE ee ae ee os ee ee ee
rok EGUCUONTE re nh 5A. was Bu ee he Coie
BePy a Ney MEMS Foc ed web 4 ved age Sel ee ee
3 TOUR CERHE OE yttt ga lupe Conese L Cee Louie
TS Se Ea ee OR hae ee ce Me ies ee
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PNORCOGDE TIO: Such Usk) Post Sep ace bak. Fatt, Molde, oS wee eee
Sita tens (ite tera) noe, ee Se aa Ate Bon pose
Soy bean . ele oe ee ee Oe er
Fm nds ieettion Se vat) Wie le cule Se Ck ee eee
Adzuki (Phaseolus Radiatus)... 0.0.0... sce eee ee nee 40
. EMOMICHIONTOL pit. Ahi. 245 Bape Beds 2) wee
Sasage (Dolichos Umbellatus)... ... sc. see nee cee ade AQ
. ciueiem Or six y sk \tko ae Sho ste ele
Haricot bean (Phaseolus vulgaris)... 0.0 16. sce ace ae 43
? je -EEOGUCHIGI Of: wicle. — de oht ~ cx Ea a ee
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Buckwheat a Fee Oe ae ee RP
55 Production of
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e 2 oe. a
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Sweet potato (Died)... We Reh eee ase. at. eee
9 : Gees 044 4h Geet. Bien Ae ce
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I. RICE (ORYZA SATIVA).
KOME.
Rice is the most important cereal in Japan and is an in-
dispensable means of subsistance, so that extensive tracts of
the cultivated land are devoted to producing of this staple grain.
There are two distinct varieties of rice grown in the irrigated
land or paddy field called “Ta,” viz the ordinary rice or
“ Urucht,” O. Sativa and glutinous rice or Mochigome O. Sativa
glutinose. Mach of these has numerous varieties and sub-
varieties already in cultivation and they are constantly an-
gumented by artificial selection or by the accidental discovery of
new sorts. Rice is also cultivated to some extent in ordinary
dry fields called “ Hata” and is then known as Upland rice or
Okabo, and this too, has several varieties and subvarieties.
Amongst the several varieties and subvarieties of rice cul-
tivated in Japan the following specimens are here exhibited.
Common rice known as Miyako, the
produce of Saba-mura, Saba- “gun
in Yamaguchi prefecture.
Common rice known as Shiratama,
| the produce of Inada-mura, Yama-
ga-gun in Kumamoto prefecture.
| pot rice known as Manganji, the
No.1 (a) Rice, husked.
(5) Rice, whitened.
No. 2 (a) Rice, husked.
(b) Rice, whitened.
No. 3 (a) Rice, husked.
(b) Rice, whitened produce of Hazama, Kikuchi-gun
in Kumamoto prefecture.
Common rice known as Yeigo, the
produce of Horiye-mura, Wake-
gun in Yehime prefecture.
No. 4 (a) Rice, husked.
(6) Rice, whitened.
No. 5 (a)
(0)
No. 6 (a)
(0)
No. 7 (a)
(0)
No. 8 (a)
(0)
No. 9 (a)
(0)
No. 10 (a)
(0)
No. 11 (a)
(0)
No. 12 (a)
(0)
No. 18 (a)
(0)
Common rice known as_ Kuni-
tama, the produce of Tafuse-mura,
Kumage-gun in Yamaguchi pre-
Rice, husked.
Rice, whitened.
fecture.
Common rice known as Fusakichi,
Bice, hushed: the produce of Akasaka-gun in
Rice, whitened. Okayama prefecture.
(Common rice known as Oku genzo,
the produce of Koshigaya, Minami
Saitama-gun in Saitama pre-
fecture.
Rice, husked.
Rice, whitened.
Common rice known as Sekitori, the
produce of Komono-mura, Miye-
gun in Miye prefecture.
Rice, husked.
Rice, whitened.
ae rice known as Nihonsan,.
he produce of Sasaoka-mura,
aa Kambara-gun Niigata pre-
fecture.
Rice, husked.
Rice, whitened.
the produce of Hodzumi-mura,
Shimo-Tsuga-gun in Tochigi pre-
fecture.
Common rice known as Shiraishi, the:
produce of Fukuda-mura, Tonami-
gun in Toyama prefecture.
Glutinous rice known as T'aro-
Mochigome, husked. bei, the produce of Koshi-
Mochigome, whitened.) gaya, Minami Saitama-gun
in Saitama prefecture.
Rice, husked.
‘Common rice known as Shinshuwase,
Rice, whitened.
Rice, husked.
Rice, whitened.
Glutinous rice known as.
Mochigome, husked. Hoso the produce of Gam6-
Mochigome, whitened.| mura, Minami Saitama-
oun in Saitama prefecture.
ee
Uplund rice known as Oiran,
No. 14(@) Okabo, husked. the produce of Takinogawa-
(bt) Okabo, whitened. mura, Kita ‘Toshima-gun,
Tokio.
Of above mentioned fourteen specimens of rice, the first
six varieties are the ordinary rice chiefly cultivated at Kiushiu,
Shikoku and Chugoku—the eight central provinces in the main
island—and the other five varieties of ordinary rice, viz. No. 7 to
No. 11 are produced at several provinces in the northern and
eastern parts of the Empire.
The former have large, plump and glossy grains but their
taste when cooked being somewhat inferior, they hold in general
a secondary position in our market, while the latter have smaller
grains than the former, but their taste when cooked being
superior, they rank first in the market.
When rice was first exported to foreign countries its chief
purpose was for making starch, and only a very little portion of
it had been used as food, consequently its external beauty was
considered as the first importance in this trade regardless of the
good taste of Japanese Rice. This gradually became a custom
and now-a-days it les at an almost unreasonoble prejudice in
the way of trade. However, turning our eyes to the actual
state of consumption of our rice in Europe and America, we
notice an undisputable fact that our rice is now mainly consumed
as food, frequently making its appearance on luxurious tables as
Fancy or Table Rice.
There is no reason whatever, why those varieties of rice
which are highly appreciated in Japan are not also appreciated in
Europe and America. With this view we have specially exhibited
these six varieties of the ordinary rice or Uruchi viz. from No. 7
to No. 11, as specimens for those who might in future demand
such varieties of rice which have an unrivalled quality as food.
In boiling Japanese Rice, care must be taken as to the quantity
of water to be added, for if excess of water be added the grains of
sn ahah
rice are liable to fall or moulder down into pulp, while if it be
properly added, they continue to maintain their form. The
suitable quantity of water to be added differs more or less aecord-
ing to the quality of rice but generally speaking, 1.25 part of
water to 1 part of cleaned rice by volume may be taken as the
standard quantity; and the other important point for cooking
rice is that the lid of the vessel or pot must be kept constantly
on until boiling is finished.
Varieties No. 12 and 13 are both glutinous rice or “ Mochi-
gome” Oryza sativa glutinose and are chiefly consumed by
making them into cakes or “Mochi.” No. 14 is Upland rice
or Okabo the chemical compositions of which differ but little,
and is generally speaking far inferior in its taste when cooked to
that of the ordinary rice grown in paddy fields.
As our rice now occupies one of the most important places
among the articles of export, and there still being every
prospect of increasing the amount of the export in future, we
believe it is not out of place to show the general public; The
amount produced; The general condition of export; The cost
etc.
The amount produced of all kinds of Rice grown in the
Empire varies, more or less, according to the circumstances -of
the years, and the following table shows the annual yield of
husked rice for the period of ten years from 1882 to 1891.
Produce in Measure. Produce in Weight.
Year. Koku.* Picul.
1882 30,401,029 72,202,444
18838 30,562,392 72,585,681
1884 27,131,087 64,436,333
1885 34,042,773 80,851,586
1886 37,191,424 88,329,632
1887 39,999,199 94,998,098
* The weight of husked rice varies from 38-40 Kwamme or 23$-35 piculs, in
this calculation 1 Koku is taken as 23.75 piculs.
Ae ie
Produce in Measure. Produce in Weight.
Year. Koku. Picul.
1888 38,645,470 91,782,991
1889 33,007,566 78,392,969
1890 43,037,809 102,214,796
1891 38,123,548 90,543,427
Average of 10 years. 35,214,230 83,633,796
Export of our rice to foreign countries had ever been strictly
prohibited by law, but since this restraint was first taken
off by the Government in the year 1872, it became a conspicu-
ously large article of export. The following table shows the
quantity and value of rice exported in each year from 1882 to
1891.
Year. Quantity in Piculs. Value in Yen.
1882 650,977 1,652,114.94
1883 435,405 1,000,950.16
1884 1,187,260 2,170,385.12
1885 818,041 767,455.52
1886 1,387,989 3,031,433.04
1887 893,253 2,255,196.29
1888 3,318,427 7,421,332.92
1889 3,277,249 7,434,941.48
1890 385,027 1,323,510.67
1891 1,998,648 | 6,213,494.69
The countries to which our rice is chiefly exported is shown
in the foliowing table.
peek: pees
1887 1888 1889. 1890 1891
eathation, ay Sate Queninty. igi Nete or a
Piculs. Piculs. Piculs. Piculs. Piculs.
England... ...|267,369 |1,624,425 |1,648,990| 61,677] 566,788
U. S. America.| 44,716} 142,586] 188,981] 52,060] 291,862
Germany ..{168,474| 425,884] 292,374) 44,521] 260,808
Hong-Kong .... — — 119,350] 40,215] 249,531
France ... .| 88,673 | 245,756) 103,096| 2;522) 224,985
Australia ...{138,127| 171,049} . 98,192 141,255] 164,768
et 2508) 36,446 | 11,793] 32,719
Russia ..| 84,219 54,3850} 70,595| 18,184] 382,092
Austria . ..| 14,198 — — ; 1}. ares
Italy 3,360| 131,448 — 86 5,040
Belgium... ...) — a 3,360} 4,200 3,880
Other countries,181,573} 517,885] 715,745} 8,027] 153,055
For ship use ... 36 44 120 485 48
Total ... ...{893,258 |8,3813,427 |3,277,249 |885,027 |1,998,648
An investigation as to the respective amount of rice ex-
ported from various ports in the Empire shows that Kobe has
the largest and Nagasaki comes next, while other ports take
very little share of the export. Looking at the present destina-
tions it can be easily seen, that the said two chief ports must
naturally continue to have the largest trade in rice. Such ports
as Yokohama and Fushiki, however may be expected to have a
large export in future, when increased demand of our rice is
obtained from North American States and Russia.
Our Rice trade was hitherto confined to only the six treaty
ports, viz. Osaka, Yokohama, Kobe, Niigata, Hakodate and
Nagasaki, but in the year 1889 the following ports were opened
as special ports for the exportation of Rice, giving no small
degree of interest and facility to the shippers, viz. Yokkaichi,
a bee
Shimonoseki, Hakata, Moji, Kuchinotsu, Sankaku, and Fushiki.
The annexed table shows the respective amount of Rice exported
from the different ports. The latter mentioned special ports are
mentioned as “other ports ” in the table.
1887 1888 1889 1890 1891
eace Quantity| Quantity Quantity | Quantity Quantity
in in z in in
Piculs. Piculs. Piculs. Piculs. Piculs.
Yokohama ...} 10,926] 54,127] 15,406 461 1,068
Kobe ... —...|637,706 |2,605,338 |2,530,078 |357,322 {1,753,172
aaar orink Cask 850 4] 840 1 _
Nagasaki ...(243,418] 640,922] 692,907] 26,082} 65,998
Hakodate ...) — 91 — —_ —
Other ports ... 310{ 12,864! 37,903 676| 178,362
In any kind of trade, it is an important matter to know,
for reference, the real price on which bargains are actually per-
formed. Whereas the price mentioned in the preceeding table
having been gathered from the reports made to Custom houses
both by sellers and purchasers, there is no means to ascertain
‘the difference of price between different qualities of Rice, so that, »
we give here the average price list of both husked and whitened
Rice, in each year from 1889 to 1892, prepared by Messers
The Nippon Beikoku Yushutsu Kaisha, Kobe.
Husked Rice per Picul. Whitened Rice per Picul.
Year. 1st. Class, 2nd. Class, 1st. Class, 2nd. Class,
Quality. Quality. Quality. Quality. :
Yen. Yen. Yen. Yen.
1889 2.472, 2.376 3.043 2.929
1890 2.967 2.850 3.850 3.750
1891 Buon" ite '48:060 8.845 3.581
1892*| 3.220 3.120 3.906 3.826
* Average of months from January to July.
wan 0 ask
Tn order to show the manner of carrying out our Rice trade
in Japan, we will mention here the process in Kobe. Every
year, when Kobe supplied new Rice cargo, the native Rice mer-
chants as a first step, will make samples by mixing suitable
varieties and classify their prices according to the various
qualities, and they will take these samples to the foreign mer-
chants resident in Japan, who will then enter into contracts
aceording to their judgment. When the agreement is thus settled,
it is a usual custom that the canvas bags to pack the rice in and
twine to seal the mouth of the bags, are to be supplied by the
purchaser. In case of the purchaser being unable to supply
them, the seller will provide them charging 14 or 15 Sen* per
piece for first class bags, inferior ranging from 12 to 8 Sen accord-
ing to the quality, the cost of twine extra. Husked rice must
be cleaned twice by means of “Tomi” or winnowing machine
before the rice is put into bags, and when all dirt is taken off,
the bags are filled, the mouth being sewed up at the expense of
1 Sen 1 Rin** each. The content of a bag depends upon the
purchaser’s will, but usually contains 200 lbs. When the bags
are sealed they are taken into lighters, and sent off to the ship
which will carry them to the Foreign market, paying 33 Rin
for coolies hire and 9 Rin for lighterage per bag. When all the
bags are taken on board ship, the seller will obtain the receipt
from the ship, and with this receipt he will apply for the pay-
ment to the purchaser. Such being the proceeding mostly
adopted by the merchants at Kobe, there are only a few who
feel any direct effect of the difference in freights. The rate of
freight, although more or less regulated according to the quantity
‘of cargo, but so far there has been no much difference, 35
shillings per ton on a voyage from Kobe to London may be
‘taken as a standard rate.
Messers Samuel, Samuel & Co. No. 22, Raspe & Co. No.
nnn cn nr OT OTSTO nn ne ena nEEEEEnESERRRnEENE ES EEEEnRnE
* 100 Sen=1 Yen. ** 10 Rin=1 Sen.
mick eh edion
91 and Simon Ever & Co. No. 101 are the chief foreign exporters
in Kobe, while Messers The Nippon Beikoku Yushutsu Kaisha,
The Nippon Seimai Kaisha, The Mitsui Bussan Kaisha Kobe.
Branch, Yamamoto Seimaijo, Rioyei Kabushiki Kaisha, Sone
Chibei, Katsuki Sonoji, Idzumi Bunshichi, Idzumi Kaichi,
Yonesawa Chojird, Tanisawa Jirobei, etc. are among the pro-
minent native rice merchants in Kobe.
In Japan no custom duties are imposed on the foreign
export of rice.
The following is the summary* of the cultivation of the rice
grown in paddy fields or “Ta.”
The Choice of Seed :—The seed for sowing ought to be of
the best quality, thoroughly matured, quite free from ‘injury and
true to its variety. In order to select such genuine seed, there
are several methods in practice, the most common of which is
that, those grains which are formed at the upper half of health-
ful and fruitful grown ears are taken as seed, but recently the
grains liberated from ears are immersed in a cask filled with cold
_ water or still better with brine, and those which float on the
surface of the water are rejected, and those only which sink to
the bottom are taken as pure seed.
Steeping :—Seed selected as above described is packed in
straw bags and immerced in ponds or rivers or simply steeped
in casks filled with water for a varying length of time. Tor the
length of steeping, here again great discrepency of existing
practice occurs, according to the difference of climate and
customary mode of cultivation. In some districts, it is steeped
as long as 30 days while in others from 7 to 20 days. It is not
easy to say which is the best period for steeping the seed,
however, many judicious farmers think that 7 days are sufficient
for this purpose. The seed thus steeped is then taken out
from the water and exposed to the air and partially dried before
* Extract of Mr. J. Sawano’s essay delivered to Agricultural College.
Komaba.
ee;
it is sown in the seed bed. In some districts, the seed taken out
from the water is spread on mats, and warmed and stirred
several times in a sunny place during the day, and at night it is
covered with mats to keep warm and this operation is repeated
for 3 or 4 days until the seed begins to germinate when it is
sown in the seed bed.
Preparation of the seed bed and sowing of seed :—The situa-
tion for the seed bed ought to be a sunny place and the soil of
good quality. The soil is turned up two or three times with a
plough or kind of fork, harrowed several times and reduced to
fine tilth, levelled and cleaned as far as possible.
The manures applied to the seed beds are several, but those
which are most commonly used are ordure, ashes and green
manures. When the seed bed is ready, the seed which has been
treated as just mentioned is sown broad cast at the rate of about
3 Go* per “ T'subo’’** and 8 or 10 of such “ T'subo” serves for the
seed plants of one “ Tan.”
For watering the seed bed, many different practices are in
vogue, but generally speaking, after the seed is sown, water is
withheld in the morning, and every evening it is filled with water
to the depth of about 2 inches, which is gradually lessened till
half an inch when leaves of young plants have grown to the
height of about | inch.
The drying and watering is repeated every day for about 10
days, and afterwards constantly kept full of water until the young
plants are fit for transplantation. The time of sowing in the neigh-
bourhood of Tdkid is the beginning of May.
Preparation of land for transplanting :—There are two
kinds of rice fields in Japan; the one which is suitable for the
cultivation of two different crops in a year, and the other which
is not fitted for this purpose, on account of too much water ex-
isting and this kind is kept fallow except for rice culture.
From the tendency of the latter to retain much moisture, it
* 10 GO=1 Sho=18 litre. ** 300 “'T'subo””=1 Tan=10 are.
ma eee
is spoken of as watery or low field—‘ Suiden,” and the former
for the opposite reason as dry cr high field—‘“ Kanden.”
The cultivation of these rice fields differs more or less in
different localities. In some districts the land is ploughed in the
beginning of winter after the harvest of a rice crop, by horse or
cattle if the land be of dry character, or turned up by hand if the
field be of a marshy character, and left for the weathering influence
of the winter months. In other districts, they are winter fallow-
ed without putting any implement to them after harvesting the
crop. In other counties, the seed of “ genge” Astragalus Lotoides
is sown in the previous autumn and the plant is ploughed
in at the next spring and serves as green manuring. Although
it depends much upon-the quality of soil and subsoil, but deep cul-
tivation is recommended generally. The usual practice is that,
from the beginning of May the land is turned up three times, and
cross harrowed several times until the clods are reduced to fine
tilth. The manures applied to rice fields are of several kinds,
the most common of them, are green manures, farm yard manures,
composts, ordures, fish manures, Sake kasu, Shoyu kasu, rape’
seed cake, and soy bean.
Time of transplanting :—Time of transplanting the rice plant
is the next point that claims attention. Here, of course, several
modifying circumstances have to be considered, as soil, climate,
variety of rice and the state of preparation of the field into which
the plants to be transplanted.
The usual practice is that, when the plants in the seed bed
have grown to 7 or 9 inches in height they are pulled cut and
transplanted in the field. The plants take from 35 to 50 days
after sowing till this time. In short, the season for transplanta-
tion is the beginning of June. Those, however, to whom this
method of raising and transplanting the rice plant does not offer
sufficient advantages to induce them to undertake the additional
trouble and expense may grow rice by sowing seed directly in the
field.
area
Distance between the plants : — Distance between the rice
plants transplanted varies widely according to the character of
soil and variety of rice. In a fertile soil, when a late variety of
rice is cultivated the space of ground allowed to the plants may
be wider than the opposite case and vise versa. Generally
speaking, from 2 to 8 plants together, according to the variety,
are transplanted in rows of from 10 to 12 inches apart and at
a distance of from 8 to 12 inches.
Irrigation of rice fields:—Ivrigation or watering of the
rice fields continues constantly, from transplanting up to about
middle of August, except at the time of weeding, when ears of
rice plants begin to develope out then no more watering is neces-
sary. Butifthe soil dries too much, the land is once more irrigat-
ed for one or two days at the time of the plant flowering, and on
this account, it is called by farmers as flowering water.
Weeding :—Weeding is not mere eradication of noxious
grasses but the dried leaves and floating roots of the rice
plant are also taken and pushed into the soil by the hand.
Weeding commences from two or three weeks after trans-
plantation, irrespective of the presence of weeds, and repeated
3 or 5 times at the intervals of 10 or 15 days. In the time of
weeding the water of the field is partially withheld for the con-
venience of the operation, and some farmers dry their fields one
or two days after weeding.
Time of flowering:—The period of inflorescence is the
one of the most anxious times of the year for farmers, as the future
yield depends greatly upon the conditions favouroble or unfavour-
able under which it is carried on. Wind or wet are alike
undesirable at this period. “When the season passes safely with-
out atmospheric disturbance, the year is generally anticipated to
be fertile, and when the opposite is the case the year is assumed
to be unproductive. The time of flowering, generally speaking,
takes place in the beginning of September.
Harvesting: — The harvest season extends from the
esl ES ows
middle of September for early varieties, to the end of November
for late varieties. The rice crop is cut with sichles and dried for
some days. For drying, various methods are to be met with in
different parts of the country. In some districts, when it is cut
it is simply left in swathe for few days while in others it is tied
up in sheaves and hung on streched ropes or on bamboos
constracted in the form of great hurdle or ladder for several days.
After it is thus dried, it is carried to the barn or any covenient
place for future manipulations. Thrashing is performed by
drawing rice ears through a frame set with iron teeth specially
constructed. The grains thus separat3d from straw are husked
by means of a mill specially constructed with wood and clay,
then cleaned by winnowing and passing down riddles.
Produce of rice per ‘'Tan’:—The yield of rice per ‘ Tan’
varies from 4 Koku in good soil to 0.8 Koku in inferior soil,
average being about 1.6 Koku.
The following table shows the yearly acreage and produce
of three distinct varieties of rice grown in the Empire from 1887
to 1891
. Ordinary rice. Glutinous rice. Upland rice.
Y Bese Spe ase FO Se | eS
sis Acreage in| Yield in |Acreage in| Yield in |Acreage in| Yield in
Cho. Koku. Cho. Koku. Cho.
1887 391,913] 36,675,775 215,701| 3,100,153 29,571 223,271
1888 2,440,474] 35,401,057 219,321] 3,039,254 26,915 205,165
1889 2,429,721) 29,767,557 265,503} 3,030,600 31,314 209,409
1890 2,442,617] 38,846,389 269,978] 3,919,923 35,203 271,497
1891 2,447,956] 34,317,096 269,181] 3,530,411 39,995 276,041
ans oe
The results of chemical analyses of different kinds of rice
performed at the Agricultural College, Komaba in Tokyo are as
follows.
Ordinary Rice
eee) ee, ee ee ee: ge aE ea eS) See oe
Upland Rice |Glutinous Rice
Water.
In 100 PARTS OF DRY MATTER.
Crude protein.
Fat.
Crude fibre.
Starch.
Other N. free substances.
Ash.
In 100 PARTS OF PURE ASH.
Potosh.
Soda.
Lime.
Magnesia.
Ferric oxide.
Phosphoric acid.
Sulphuric acid.
Silica.
Chlorine.
or Uruchi. or Okabo.
14.20 12.77
9.84 11.27
2.66 2.57
1.45 1.62
77.86 17.34
10.17 5.91
1.02 1.29
22.94 21.73
4.94 159
3.24 2.12
10.54 6.6]
1.03 1.66
53 BY 51-09
1.05 2.08
3.14 9.63
or Mochigome.
14.48
12.25
2.84
1.01
76.02
6.81
1.07
The testa or seed coat, commonly known under the name
of “Nuka” or rice bran, obtained while whitening the husked rice,
is extensively used both as manure and feeding stuff, and it
contains the following composition (average of 7 analyses).
Water.
Crude protein.
Fat.
11.83
13.01
15.15
an [as
Crude fibre. 6.88
N. free extract. 41.22
Ash. 8.88
Total nitrogen. 2.08
Phosphoric acid. 3.78
Potash. 1.40
PRODUCTION OF RICE.
SAKE.
Sake sometimes called rice wine is brewed from the best qual-
ity of ordinary rice or “ Uruchi.” The ferment or yeast for brew
ing Sake is called “ Koji”, Eurotium Oryze. The process of
manufacturing Sake is very complicated and requires great skill.
Sake which has a good taste and agreeable flavour peculiar to itself
is used by all classes of the nation and is an indispensable beverage
at marriage and other festival days. When it is used in
moderate quantity 1t promotes good health. The best kinds of
Sake are produced in Itami, Nishinomiya and Nada in the
province of Settsu.
The amount of Sake produced in each year from 1885 to.
1891 is shown in the following table.
1885 2,576,783 WKoku.
1886 2,869,050 ,,
1887 2,981,110 ,,
1888 2,824 33hy
1889 3,688,330 _,,
1890 S,000:D9C 5;
1891 3,295,574 ,,
The quantity of rice consumed for brewing Sake is not.
small, the following shows the amount in each year from 1885 to
1890.
oh A Si
1885 2,674,478 Koku.
1886 2,960,802 _,,
1887 3,941,442 ,,
1888 3,784,282 ,,
1889 3,132,626 _,,
1890 3,410,090 _,,
The specimens of Sake exhibited are as follows :—
(a) Sake, known under the name of “ Taichd.”
(6) Sake, known under the name of “ Yedakiku-Masa-
mune.”
Taicho (a) is sold by Mr. Kitakaze Teijird of Hidgo, its
price is 3.00 Yen per dozen, bottles each containing 4 Go of
the Sake, and when more than 100 dozen are bought the price
is reduced to 2.20 Yen per dozen.
Yedakiku-Masamune (0) is the manufacture of Mr. Kano
Jiroyemon of Nada and it is sold at Tokid by his sole agent Mr.
Kajima Seibei. The price per dozen in Tokio is 3.68 Yen. The
price when sold in casks containing 3.55 “'To”’ was as follows :—
Year. Price per Cask in Yen.
1888 6.867
1889 5.387
1890 5.848
1891 7.205
Analyses of three kinds of Sake performed by the Sanitary
Exp. laboratory in Tokio, gave the following percentages.
(a) 2) (c)
Alcohol by weight. 12.0 13.6 9.5
Extractive matter. 2.83 2.9 2.61
Dextrin. 0.22 0.2 0.17
Glucose. 0.54 0.62 0.53
Glycerine. 0.94 0.8 0.64
Free acid. 0.025 0.24 0.30
Ashes. | 0.1 0.06 0.05
oes a ag
MIRIN OR SWEET LIQUOR.
The materials used for manufacturing “ Mirin” are Koji
(yeast), glutinous rice and Shodchai or spirit distilled from
Sake Kasu—the dregs obtained in the brewing of Sake.
Although it is used to some extent as drink, it is mostly
applied for flavouring various articles of food by boiling with
them.
The amount produced of Mirin in each year from 1887
to 1891 is shown in the following table.
1887 24,724 Koku.
1888 28,242 ,,
1889 29398. |;
1890 24,442 ,,
1891 26,281 ,,
The following specimens of Mirin are exhibited :—
(c) Mirin, known as Manjio.
(dq) Mirin, ,, ,, Manjid-idzumi.
(ec) Mirin, ,, 4, Appare.
(f) Miri, ,, ,, Kimigayo.
Of above four specimens of Mirin, the former two are manu-
factured and sold by Mr. Horikiri Monjird, and the latter two by
Mr. Akimoto Sanzayemon, both are residents of Nagareyama in
Chiba prefecture.
aie Ct tases
The market price of Mirin does not fluctuate as other
mercantile articles, the following shows the yearly rate for the
four kinds of Mirin from 1887 to 1891, in Tokio.
_ (d) Manjio-idzumi and
(f) Kimigayo.
Per 10 casks | Per dozen of Per 10 casks Per dozen of
containing fflask containing} containing [flask containing
4 To. 4 20 each. 3.1 To. 4 g0 each.
(c) Manjid and (e) Appare.
The following shows the chemical composition of Mirin,
analyzed at the Agricultural College, Komaba, Tokio.
Alcohl by weight. L271 8
Sugars. 400.00 grams per litre.
Ashes. Cs ee)
Total dry matter. 429.00
Free acid as acetic acid. traces.
Specific gravity. 1.1280
RICE STRAW.
The rice straw produced in Japan, the byeproduct of
rice amounts to not less than 4,100,000,000 Kwamme or 15,270,
000 Tons. Rice straw is utilized in Japan in various ways,
such as in bags for keeping and transporting cereals, root crops
etc., for making various kinds of ropes and cordages, mats,
“Mino” or rain coats, sandals known as “ Zori”’ and “ Waraji,”
thatching roofs, making summer hats and other straw work.
It is also largely used both as fodder and litters for houses and
cattle.
a aren
It has recently been largely consumed in manufacturing
straw pulp, which mixed with other kinds of fibres is largely used
for manufacturing printing paper. Until a few years ago, nearly
all printing paper used for news papers, journals, etc. was
imported. from foreign countries, but, at present, almost all |
demands are supplied with the home made article, and there is
every hope that in future, it may be exported to foreign countries,
on account of the cheapness and easiness of obtaining the materi-
als.
The following is the list of the specimens of rice straw and
its manufactures :—
(g) Rice straw, produced in the vicinity of Tokio.
(h) Rice straw pulp, manufactured at Yeishin-sha of
Nishinari-gun, Osaka.
(2) Rice straw paper, manufactured by Oji Paper Manu-
facturing Company, Tokio.
(s) Rice stalk, a part of straw used for plaiting.
(¢) Rice straw plait (8 kinds), made by prisoners in the
prison at Yamaguchi.
The price of Rice straw differs greatly according to its
quality and in the localities where it is grown, but one Yen per
100 Kwamme may be taken as an average rate.
The price of pulp () is 3.3 Sen per lb. in Osaka and that of
rice straw paper (?) is 5.8 per lb. in TOkid.
Rice straw plait (¢) of 3 kinds, viz. No. 1 (1,200 Shaku long),
No. 3 (800 Shaku long) and No. 5 (720 Shaku long), cost, respect-
ively, 6.600, 3.192 and 1.296 Yen, and each of them is sufficient
for making six hats.
AME,
7:
The manufacturing of “Ame” in Japan, dates so far back
as 100 years before the Christian era, and at early times, sugar
bemg not yet known, Ame was used for flavouring articles of
food, and even at present, sometimes it is used in the place of
a |
sugar for cooking. Ame is,made of malt and glutinous rice
(No. 138 & No. 14). ;
The specimens of Ame here exhibited are 3 sorts of Okina-
Ame and 8 sorts of Awa-Ame or Midzu-Ame, the former has a
solid consistency and the latter a viscous nature.
(7) Okina-Ame, of Takata.
(k) Okina-Ame ,, x
(2) Okina-Ame ,, Tokio.
(m) Awa-Ame ,, Takata.
(n) Awa-Ame ,, Tokio.
(0) Awa-Ame ,, ae
Of the above 6 sorts of Ame, (j) (%) and (m) are manufac-
tured by Mr. Takahashi Magozayemon of Takata, in Niigata
prefecture, and (2) (n)-and (0) are produced by Mr. Kato Kihei of
Nakamonzen, Shiba, TOki6.
The following is the price of above 6 kinds of Ame :—
Yen.
(7) Okina-Ame. 0.80 per 100 pieces.
(k) Okina-Ame. 0.30 sf
(2) Okina-Ame. 1.00 ca
(m) Awa-Ame. 0.50 per 10 pounds nett.
(n) . Awa-Ame. 0.60 a
(0) Awa-Ame. 0.40 <
Ame being a sweet and agreeable aliment is used by all
classes of people; and on account of its being a mild and
nourishing food and, at the same time helping digestion, it is
largely used by women in childbed, invalids and infants.
It is also used as the ingredient for making various kinds of
confectionary. Ame can be preserved for many years without
changing, even a little, in its quality.
The following table shows the average percentage com-
position of ‘“‘ Awa-Ame”’.
Water. 15.14
Albumen. 1.16
i) ee
Fat. 0.04
Dextrin. 33.60
Maltose. 50.05
Ashes. 0.28
(p) Shiratama (Glutinous rice starch).
The method of preparing “ Shiratama ” is as follows :—The
whitened glutinous rice is steeped in water, then ground with
some water in a stone mill, filtered through fine sieves, and the
filtrate 1s poured into cotton cloth bags and pressed ; until the
milky fluid is subsided, and supernatant clear water is poured out
and these processes of subsiding and decanting are repeated
several times, and finally the starch thus obtained is dried over
a charcoal fire. )
For preparing Shiratama for food, it is made into dough,
and formed into balls of the size of kidney beans, steamed and
cooled in cold water or ice, and served with sugar in summer
time otherwise it is eaten with soup. It is also used for manu-
facturing confectionary. |
‘Phe specimen of Shiratama here exhibited, is produced by
Mr. Otsuka Jinyemon, Sogamachi in Chiba prefecture, and its
price per pound is 5.3 Sen.
(q) Dodmidji (Steamed and dried rice).
-Domidji is prepared by steaming the whitened glutinous
rice, drying and grinding it into coarse powder, during about 30
days in the coldest time in winter. The most famous district for
its produce from very ancient time is Domidji-mura, Shiki-gun in
the province of Kawachi ; and the specimen here exhibited is the
produce of that district.
For using as food, hot water is’‘poured upon it and before it
gets too soft it is eaten with sugar, salt, etc. so that it is a very
convenient provision for troops. It is also largely used for mak-
ing confectionary.
The price per bag containing about */, pound is 6 sen.
(r) Kori-mochi or Frozen Mochi.
pa en
Kori-mochi is one of the famous products of Nagano pre-
fecture. It is prepared from glutinous rice in the coldest time in
winter, by steaming the glutinous rice and pounding it in a
mortar into thick paste known as “ Mochi”, it is dissolved in hot
water and filtered through hemp cloth by applying pressure, the
filtrate is poured into wooden moulds specially constructed, and
frozen upon deep snow and dried by exposure to the sun.
When softened by pouring hot water or made into milky
juice by dissolving it in hot water and served with sugar, it
makes a very delicious food especially suited for invalids and
infants.
The specimen here exhibited is manufactured by Mr. Maye-
jima Mohei of Nagano and its price per Ib. is 18 sen.
JJ. BARLEY.
Barely is one of the most important cereal crops next to rice
in Japan and is cultivated in almost all provinces, extending from
Kiushiu to the Hokkaido.
The acreage of barley grown in the Empire in the year 1892
is estimated to be 6,513,514 tan or about 651,351.4 hectares.
The following shows the yearly amount of the produce of
barley during the last five years ending in 1892.
1888 7,087,150 Koku.
1889 7,190,523 _,,
1890 5,417,333 ,,
1891 8,114,959 __,,
1892 6,789,529. ss
The specimens here exhibited are as follows :—
(15) Golden melon (Hordeum distichum).
(Produce of Takinogawa-mura Kitatoshima-gun,
Tdkid).
(16) Honkan (Hordeum hexastichum).
a fm
(Produce of Sanuki-mura Ofura-gun, Gunma pre-
fecture).
(17) Chevalier (Hordeum distichum).
(Produce of Sapporo-mura Sapporo-gun, Hokkaido}.
The Golden melon and Chevalier above mentioned, were first
introduced from America and Europe, respectively to Japan some
years ago.
Barley, either as flour or whole grain, boiled with varying
quantities of rice, is used as common food both by farmers and
other classes of people in Japan. For this purpose it is whiten-
ed like pearl barley, steeped for 5 or 6 hours in water, and then
boiled. It is much used as the material for making Miso~
Miso is prepared by pounding together boiled soy bean, salt, and
the Koji (yeast)* prepared from common barley or naked barley,
and is one of the most common articles of food in Japan. It
is also used for brewing beer, making Ame and several con-
fectionaries and as food for horses and cattle. When its stalk ig
bleached and plaited it is much used for manufacturing summer
hats and several other articles.
Price :—The price of barley in Tokio in each year from 1887
to 1891 is as follows :
1887 3.460 Yen per Koku.
1888 OS 55a > 33 '
1889 2.240) 5, ~ 5; ‘
1890 2208, Meigs Z
1891 RBOe aye) hie .
Export :—A small amount of barley is annually exported to
foreign countries and its chief destination is Hongkong and
Vladivostock. | .
The following shows the annual quantity and value of barley
exported during the last five years.
* Eurotium oryzae.
ET a eg ee Sa
ciig | eek
Year. Quantity in Kin. Value in Yen.
1887 154,607 3,310
; 1888 | 979,752 9,034
Qu 1889 485,906 4,807
| 1890 ~ 16,450 397
1891 23,073 353
Cultivation :—The time of sowing barley in Japan is generally
speaking in the months of October and November. The seed is
sown in deeply cultivated and well prepared land in ridges of
about 2 Shaku apart, in ordinary dry fields or “hata,” while
in well drained paddy fields or “ta,” in ridges of 3-4 Shaku
apart. The common manures used for barley crops are ordures,
farm yard manure, compost, oil cake, fish manure, rice bran etc.
‘The quantity of seed sown varies from 4-8 Sho per Tan,
according to the character of soil andseed. 'The time of harvest-
ing is from the beginning to the end of June. The average
_ yield of barley is about 1.8 Koku but the produce of certain
varieties of barley such as Golden melon and Chevalier in Tokio
1s 2.5-3.0 Koku per tan or 0.3-0.4 Bushels per acre.
PRODUCTION OF BARLEY.
(a) Straw (nagawavra) for straw plait.) Produce of Omori-mura
(6) , (Kiriwara) ,,
Straw nagawara (a) and kiriwara ()) are the bleached stalks
of barley and used as the material for making straw plaits and other
straw work. Some farmers bleach barley straw cultivated by
themselves in the leisure of field work and sell it’ to manufacturers
of straw plaits, but genrally, the farmers after harvesting and
thrashing the barley, cut the upper part of the straw to the length of
3 decimeters and sell it to the straw plaiters. Although the straw
for plaiting in Japan is not so good as that of Italy, yet itis better
in quality than that of China and other countries. In Japan
Yebara-gun Tokio.
' several articles of straw especially playthings have been made of
straw from old time, but recently, on account of straw plait
being much exported to foreign countries especially to the
United States of America, the manufrcturers of the plaits have
increased year by year.
The fallowing shows the price per Kuwamme of the straw
at Omori-mura Yebara-gun, Tokid, in 1892.
Ist quality 0.50 Yen.
(a) Straw (nagawara) And, Us sa
3rd ¥ 0.25 ,,
lst quality 2.00 _,,
(6) Straw (kiriwara) {2m + H bard Sees
Srde- yi: 0S) ees
Straw plaits (c)—(u). Price per 60 Yards.
*(¢c) Straw plait (Maruwara) 4 mm. 0.60 Yen.
(d) ve apn Ht 53 ube, ae O.60, ot
(e) * ore ose Oo Faia, O60" 4,
(Jf) im et sh” Fat Bagi, BBD >,
(9g) a ge! 5 oo} & mp 0,60) oe.
(h) a sie leew , |B. Tita 0,50 |. «6
(2) s Pr 5 » JO gam. 6.50;
(7) 5 pet st! mail Casts EATS. 0.40. 5,
(k) os can't sy, nae Yom. 0.40: ,,
(2) ¥ ,, (Maruwara nokogiriuchi) O20 05
(m) " * % hishiuchi) Vad: 5,
(n) ‘ » (5, nokogiriuchi kobadate) 0.35 _,,
(0) ay » (Wari, lst quality) 5 mm. 045 ,,
(p) is pee Cl Riss fe xo Oe Bo stom GAs,
(q) 3 Prue} % yy hh ee aa. Aaa - a,
(7) i »» (Nijiuuchi) 0.65. 5,
se ,, (Hishiuchi) G25. 3.
GE » (Mikoba) , O85...
(2) xs », (Nekoba) OD 85s «2,
* c—q are the produce of Kobe, Hidgo prefecture; and r—wu are that of
Omorimura Yebara-gun, Tékio.
ee aa
The straw plaits from (c) to (2) are made of the straw (a)
and(6). They are used for manufacturing hats and several
other straw work.
The plait is mostly exported to the United States of America,
England, and France, following one after another of those count-
ries in quantity.
The following table shows the annual quantity and value of
straw plait exported during the last five years.
Year. Quantity in Bundle.* Value in Yen.
1887 1,232,513 350,450
1888 992,140 268,557
1889 668,763 146,847
1890 425,073 87,196
1891 744,906 193,777
(y) Beer (Brewed by Osaka Beer Company at Suita-mura,
Shimashimo-gun, Osaka).
It was about 16 years ago that beer breweries were first
established in Japan, since that time, not only large quantities
are brewed for the supply of the home demand but some quanti-
ties are exported to foreign countries. Beer (y) here exhibited
is brewed at the Osaka Beer Brewing Company from barley (a)
(Golden melon) produced in Japan.
The price per case containing 4 dozen quarts was 7.80 Yen
at Osaka in 1892.
Il. WHEAT.
Wheat is one of the most important cereal crops of Japan
and is cultivated in nearly all provinces.
The acreage of wheat caltivated in the year 1892 was
4,325,860 Tan or about 432,586 hectares.
The following shows the annual amount of the produce of
wheat during the last five years.
* The length of one bundle=60 yards.
1888
1889
1890
1891
1892
ssc TOE eas
3,104,120
3,227,745
2,455,008
8,541,732
3,060,217
Koku.
The specimens of wheat here exhibited are as follows :—
(18)
Sdshit.
(Produce of Tomizu-mura, Ashigarashimo-gun, Kanagawa
prefecture).
(19) California.
(Produce of Takinogawa-mura, Kitatoshima-gun, Tokio).
California above mentioned, was first introduced from the United
States of America some years ago.
Wheat is used principally for preparing soy, vermicelli,
onmen, undon, and several kinds of confectionary. Its straw is
used for thatching roofs, litters, etc.
The following shows the percentage composition of wheat
analyzed at the College of Agriculture, Komaba, Tokio, Japan.
* Soshiu.
‘Water. 12.58
Crude protein. 12:35
Fat. 1.82
Crude fibre. 2.85
Nitrogen free extract. 69.48
Ash. 1.54
Total nitrogen. 1.901
Starch. 57.80
Weight of ae 40.04
seeds in grms.
* Funabashi. * Twatsuki.
13.53 13.01
12.74 12.01
1.73 1.75
2.90 3.08
67.66 68.54
1.64 1.61
1.954 1.849
54.85 58.35
35.80 32.76
The yearly average price of wheat during the last five years
in Tokid is as follows :—
1887
1888
5.266 Yen
4.980
”
per Koku.
9 %”
* These three specimens are especially suited for the preparation of soy.
wed. . Sea
1889 StO 55 ” ”
1890 4.050 __,, 9 ”
1891 4.160 _,, % ”
Wheat is exported both in the form of grain and also as
flour ; the former is exported to Hongkong, Hngland, X&c., and
the latter to Russia, Corea, &c.
The following shows the annual quantity and value of wheat
(grain) exported during last five years.
Year. Quantity in Kin. Value in Yen.
1887 7,571,407 122,155
1888 12A938;121 . 205,757
1889 15,270,057 250,778
1890 6,591,008 118,339
1891 2,974,518 68,601
Cultivation :—The mode of cultivating wheat is, in nearly
all respects the same as barley, only the time of sowing isa
little earlier. The average yield of wheat per Tan is about 1.2
Koku.
PRODUCTION OF WHEAT.
(v) Onmen (a kind of vermicelli).
(Manufactured and sold by Mr. Ajisaburd Suzuki, Shiroishi-
machi, Katta-gun, Miyagi prefecture).
For preparing ‘“ Onmen” wheat flour is made into dough
with brine and it is drawn out into fine threads with a com-
plicated process and cut into certain lengths. ‘“ Onmen” differs
from common vermicelli by not using oil,in its preparation.
Onmen as food, is immersed in boiling hot water for about
3 minutes, washed two or three times with cold water and served
with soup, or a souce prepared with several flavouring articles
and in hot summer days it is cooled in cold water or with ice and
eaten with cold sauce.
The priee of “ onmen”’ at Shiroishi-machi in Miyagi Pre-
fecture in the year 1892 was 11.7 yen per 100 kin.
— 29 — :
The average yearly quantity of vermicelli exported to foreign
countries amounts to about 200,000 Kin and its chief destinations
are Hongkong and Corea.
(w) Undon (a sa of manne. Prepared by Mr. Nobusada
_(«) Tamago Undon (a kind o Itd, Sapporo-ku, Hokkaido.
macaroni).
For preparing “ Undon”’ 10 parts of wheat flour and 3 parts
of potato starch are kneaded by hand witha certain quantity. of
brine and rolled, out thin, holded into layers and cut into fine
threads and dried by the sun.
For preparing “ Tamago Undon,” besides above materials,
4 eggs are added for every 13 lbs. of wheat flour.
The price of “‘ Undon”’ at Sapporo in Hokkaido is 6.4 Yen per
100 Kin and that of “ Tamago Undon”’ is 15.0 Yen per 100 Kin.
_ (z) Roast fu (prepared by Mr. Torakichi Yoshimura, Kidto).
The principal constituent of “Fu” is the gluten of wheat.
It is prepared by kneading with the feet crude wheat flour—flour
containing bran—with brine and washing out the fibres and starch
with water, the latter of which is further utilized for many
purposes.
The precess of kneading and washing is repeated several
times, and the sticky mass remaining is mixed with a certain
quantity of the flour of a glutinous rice and a small portion of
wheat flour.
The mixture is moulded into various shapes and roasted by
a charcoal fire.
The wheat best suited for manufacturing “ Fu ” is the variety
called Sdshitii which is here exhibited.
Roast “‘ Fu’ is used as food by boiling it with soup, soy,
mirin, etc. For cooking the heavy kind of “ Fu” it is recom-
mended to steep it in cold water for about two hours before
boiling. we
The specimens here exhibited and their price are as follows :—
Tamagawa fu (length of 1.3 Shaku). 0.30 Yen per 10 pieces.
es BA cbs
Tamagawa fu (length of 1.3 shaku). 0.15 Yen per 100 pieces,
Jigami fu. BOB PG >»
Yuki. RIOT: ole aah Pap 99
Choshi fu (light kind). 0.08: \,, CPgee: ”
»» 5, (heavy kind). 0.30 ,, ie Ws ”
Kosaiku fu. 0.10 Yen per 1 Sho.
Komomiji fu. OOS cde «ets
IV. NAKED BARLEY (HORDEUM NUDUM),.
HADAKAMUGI.
Naked barley is as equally an important cereal crop as
ordinary barley in Japan, so that the tract of land devoted to
its cultivation is nearly equal in extent with ordinary barley
but it is chiefly grown in the western and southern provinces.
The specimens here exhibited are as follows :—
(20) Hanaoka.
(Produce of Shingt-mura Kasuya-gun, Fukuoka pre-
fecture).
(21) Choshia.
(Produce of Takinogawa-mura Kitatoshima-gun, Tokio).
Acreage of naked barley cultivated in 1892 is 6,484,011 Tan.
The following shows the amount produced of naked barley
during the last five years.
1888 5,120,888 Koku.
1889 4,898,629 _,,
1890 2,840,624 ,,
1891 G,491-282 "
1892 6,042,498 _,,
Naked barley is used for the same purposes as ordinary barley.
The price per Koku of naked barley during last two years
in Tokid is as follows :—
1890 4,367 Yen per Koku.
1891 DIA | yy. ey Pr
poe are
Cultivation:—There is no essential difference in the
cultivation of naked barley with that of common barley.
An average yield of naked barley is about 1.8 Koku per Tan.
V. JOB’S-TEARS (?). (CO/X LACHRYMA),
HATOMUGI.
This cereal is cultivated to some extent from a remote age
for its having medical properties of strengthening, it was first
introduced to Japan from China.
The specimen of “ Hatomugi’’ here exhibited is the pro-
duce of Funaho-mura, Imba-gun, in the prefecture of Chiba.
No. 22. Hatomugi, husked.
No. 23. » 5 husked and whitened.
It is, in fact, one of the most nutritive grains among the
cereals, and there is no grain belonging to the natural order
Gramineae which comes near it in its quality of containing so
large amount of albuminous matter, it also contains a very large
quantity of fat and gluten.
The following table shows the chemical composition of
husked ‘ Hatomugi.’’ (Analysis made at Agricultural College,
Komaba.) :
Water. 12.09
In 100 parts of dry matter.
~ - Crude protein. 19.98
Fat. 6.60
Crude fibre. 0.98
Starch. 62.05
Other N. free substance. 8.91
Ash, 1.48
In 100 parts of the ash. .
Potash. 22.04
Soda. 3.30
die, SO wes
Lime. 2.63
Magnesia. 13.33
Ferric oxide. 4.46
Phosphoric acid. 36.82
Sulphuric acid. 4.47
Silica. 10.06
Chlorine. 3.40
This grain is used as food, chiefly, by boiling it mixed with
rice, just in the same manner as pearl barley is used.
It is also appropriated as a material for brewing liquors
and of manufacturing confectionaries. The grains roasted and
coarsely ground are sometimes used as a substitute for tea and
coffee.
The following table shows the local price of both husked
and whitened “ Hatomugi ” at Funaho-mura, Imba-gun in Chiba
-prefecture—for transportation from there to Tokio Market
requires 25 Sen for every 8.4 To.* or 151.5 litres.
Husked Hatomugi Whitened Hatomugi
Year. per Koku in Yen. per Koku in Yen.
1887 5,263 6,993
1888 4,762 6,414
1889 4,762 6,414
1890 9,091 12,121
1891 7,142 9,514
1892 7,142 9,514
Cultivation :—Hatomugi being the most hardy plant of all
the grains, is easiest of culture, growing in any description of soil
that admits of ploughing, provided more or less manure is applied.
The time of sowing is the end of April in the prefecture of Chiba.
Four or five grains of seed are dropped by hand in rows of 2.1
Shaku or about 0.64 metre apart at intervals of 0.8 Shaku or 0.24
metre, and ordures and composts are applied, and then covered
with soil, and afterward hoed two or three times.
* To= +7 of Koku=18.04 litres=0.512 bushel.
ere oot
It is harvested in the month of September or October.
The usual produce of one “ Tan” being 6 Koku or 120 bushels
per acre of unhusked grain which yield 1.8 Koku per Tan or
36 bushels of husked grains and when the latter is whitened, it
loses again about 20 % in volume.
VI. SOY BEAN (SOUA HISPIDA),
DAIDZU.
.
Food prepared from soy bean is extensively eaten by the
people of Eastern Asia, and it is natural that such food is es-
pecially liked by Japanese who eat very little meat, and chiefly
subsist on rice and other vegetables which lack albuminous
matter, while it is abundantly contained in the soy bean.
Soy bean has been cultivated in Japan from very ancient
times and is produced in almost every part, and it is regarded as
one of the most important farm crops. According to the investi-
gation made in the year 1887 the total area of arable land devoted
to the cultivation of soy bean is estimated to be 4,633,152 “ Tan.”
There are many varieties of soy beans in cultivation, having
different colours, white, yellow, green, brown, black and dapple,
with different sizes and shape.
The specimens of soy bean here exhibited are the follow-
ing:
No. 24. Soy bean, green (Awo-daidzu). The produce of
Akumi-gun, in Yamagata prefecture.
No. 25. Soy bean, black (Kuro-daidzu). he produce of
Sapporo-gun in Hokkaido.
No. 26. Soy bean,common. The produce of Chikuba-gun
in Ibaraki prefecture.
No. 27. Soy bean (Itachi-daidzu). The produce of Iruma-
gun in Saitama prefecture. .
The above mentioned four varieties of ‘ Daidzu” or soy bean
are produced in different localities and are. those most largely used.
— 34 —
According to the census made in the year 1887 the total
produce of soy bean in the impire is estimated to be 8,253,790
Koku. ‘The following table shows the average market price of
soy bean in Tokio, in each year from 1887—1891.
1887 4.286 Yen per Koku.
1888 AO 45 he
1889 os! die hie ae
1890 LS A a ae
1891 ote ee hi Ne
Daidzu or soy bean is extensively used in Japan, for pre-
paring various kinds of food indispensable for the daily meal, such
as soy or “Shoyu”* “ Tamari” (a kind of soy), “ Tofu’’* and
* Miso.”* It is also largely used as food for horses and manure.
The following table shows the percentage composition of 3
kinds of daidzu or soy bean analyzed at the Sanitary Experi-
ment Station at Tokio.
Black kind. White kind. Green kind.
Kuro-daidzu. Shiro-daidzu. Awo-daidzu.
Water. 11.09 13.46 12.28
Crude protein. 40.25 36.71 42.85
Fat. 18.26 17.48 13.58
Nitrogen-free-lxtract. 21.98 24.93 23.68
Fibre. 3.88 2.47 2.91
Ash. 4.55 5.00 4.70
As stated above, “ daidzu” is abundantly produced in Japan,
but as its consumption by all classes of people for daily use being
great, it is now imported from China and Corea in large quantity.
In 1891, owing to the general failure of ‘‘ Daidzu’”’ harvest in the
Fimpire, the total import made during that year amounted to
106,922,922 “ Kin” including a small proportion of other beans,
with an aggregate value of 2,010,879 Yen. However, none of
the imported soy bean or Daidzu has ever been used for the
manufacturing of first class ‘‘ShGyuw’ or soy, on account of its
* See following pages.
— 8 —
inferior quality to that produced in Japan: Though a large
quantity of foreign Daidzu, is imported as above mentioned yet a
more or less quantity of Japanese Daidzu, at the same time, is
going out to foreign countries.
The following table shows the quantity and value of daidzu
exported in each year from 1887-—1891.
Year. Quantity in Kin. Value in Yen.
1887 38,374 673
1888 84,776 1265
1889 2,108,989 35845
1890 82,373 2031
1891 67,931 1856
PRODUCTION OF ‘‘ DAIDZU” OR SOY BEAN.
SHOYU OR SOY,
Soy or Shoyu is manufactured in naarly all parts of the
limpire as it is absolutely necessary in Japan for cooking fishes,
meat, vegetables etc.
The specimens here exhibited are the following.
Manufactured and
(a) Shoyu with the trade mark | sold by Mr. Mogi
. _ Shichiroyemon of
(0) Shoyu ;, 5» 3, #4) Noda-machi in Chiba
prefecture.
. ‘Manufactured and
(¢ ) Shoyu ” ” ” ”? | gold by Mr. Mogi
Ye [Sahelliof Noda-macht
: in Chiba prefecture.
All the specimens of “ Shoyu” exhibited are the produce of
Chiba prefecture where an especially large quantity is manufactur-
ed and is one of the most noted places for it in Japan. Of the
awbovefour kinds of Shdyu (a) and (c) are of first class quality
and (6) and (c) the second.
The annual quantity of Shoyu or soy manufactured in Japan
from 1887—1891 is shown in the following table.
9“ To” or 162 litres and per dozen flasks, each
— 36—
Year. Quantity in Koknu.
1887 1,180,188
1888 1,304,551
1889 1,233,594
1890 1,157,982
1891 1,199,053
So great is the amount of “ Shoyu” manufactured in Japan
as stated in the above table, that the total number of manufactur-
ers according to the census made in the year 1889 reached 10,682.
The price of ‘‘ Shoyu” entirely depends upon the state of the
crops of soy bean and wheat. 'The following table shows the
yearly wholesale price of 4 kinds of Shoyu above mentioned in the
market of Tdkid since 1887 to 1892 per 10 casks, each containing
containing 4 “ go”
or 0.72 litres.
Shoyu (a) @| Shoyu (d) 4 Shoyu (c) @| Shyu (ad) ®
Die iors pall pee “feted oft cece tan. | age eae
Per 10 Per 10 Per 10 Per 10
Casks. | D0” | Gasis, | P0%™ | Cacks. | D%" | Casks, | DOe™
Yen. | Yen. Ven.) Yen, Yen. Yen, even, ; Yen.
12.10! 1.60 | 10.20} 1:40 | 12.60] 1.66 | 9.70} 1.42
13.30} 1.72 | 11.85] 1.60.| 13.80] 1.78 | 10.85); 1.54
13.30) 1.72 | 11.85) 1.60 | 18.80) 1.78 |10.85| 1.54
13.00} 1.72 | 11.20{ 1.60 | 18.50} 1.76 | 30-70) 1.52
12.92] 1.66 | 11.50] 1.50 | 18.40] 1.72 |10.50| 1.50
PSFOT A784 F200} 1.66.4 14.20: “1.838 11.50 | 1.60
In manufacturing “Shoyu” or soy, barm is first made by
fermenting boiled “ Daidzu” or soy beans mixed with parched
and coarsely ground barley or wheat. ‘Then the barm is mixed
up with brine of a certain strength, previously boiled and cooled,
and the mixture is kept for about 25 months, stirring it occasion-
ally with a paddle, say twice a day during winter and three times
sca ae Se
in summer, and when it is fermented to the required degree, soy
is extracted by means of a soy press. ‘he clear liquid thus
obtained is pasturized by heating to about 130° F. and when
entirely cooled, it is transferred into casks, .
As “Shoyu” is manufactured from “ Daidzu,” wheat etc., it
naturally contains a large quantity of albumunous matter. Shoyu
is used in Japan as table salt as in rope and America ; con-
sequently it is indispensable for daily use for cooking fish, meat,
vegetables etc. It has a remarkable ment when applying it in
the place of sauces s (like “ worcestershire, for beafsteak, fry, stew,.
etc. It answers better than salt when used with cold meat. _
Japanese soy or “ Shoyu” has long been exported to various
parts of Europe where those who once taste it never fail in ex-
tolling its flavour. It is said that in Holland, J apanese soy has
been used by: many people from long years ago and-highly
esteemed by them. It can be preserved for several -years with-
out the least change of taste, and though it is carried through
the tropics it never’gives any sign of mustiness or putrifaction nor
loses in the least its original taste and flavour.
The following table shows the chemical composition of
“Shoyu” analyzed at the Government Medical Mxperimental
Station in Tokio :—
Specific Gravity at 21°C. | 1,193
‘Total dry residue in | litre. 377,120 Grams.
Albuminous substance. | 94 887" «ay
Ashes. | 198,120 __,,
‘In ashes sodium chloride or common salt. 165,784 __,,
Potasium chloride. POOLS oy
Phosphoric acid. 4,664 ,,
Since the fine flavour of Japanese soy has recently become
known to people abroad, several trial consignments were made
both to Europe and America, and the result, though it has
obtained a high reputation among’ them, still it has not yet be-
come a leading article of export.
sete Ghee eee
The following table shows the annual amount of soy export-
ed for the period of five years from 1887 to 1891.
Year. Quantity in Koku. Value in Yen.
1887 1,302.71 11,091
1888 1,679.61 14,939
1889 1,576.29 16,655
1890 2,136.97 23,772
1891 3,749.01 41,028
Tt will be seen from above table that though the quantity
and value of “ Shyu” or soy is small, yet the trade is growing
year after year.
TAMART.
The specimens of “ eansieiadl here exhibited are the
following :—
Manufactured and sold by Mr.
Ishima Mosaku, of Yokka-
ichi in Miye prefecture.
(dq) ‘Tamari (dilute)
(e) ‘Tamari (concentrated)
(f) Tamari (common) manufactured and sold by Mr.
Morimoto Chohachi of Yokkaichi, in Miye prefecture.
Tamari is manufactured from ‘“ Daidzu” and brine and
chiefly produced at the prefectures of Miye, Aichi and Gifu.
It is very much like “ Shoyu” or soy in appearance and
used for the same purpose. There is only a little difference
in preparing Shdyu and “ Tamari,” the former has wheat among
the materials of manufacture while the latter has no wheat.
(g) ‘Tofu (bean curd).
Tofu is one of the most favourite foods of Japanese and sold
in all places both in towns and villages. The specimen here
exhibited is called Yakiddfu and is prepared by roasting partially
dried “ Tofu ’’ over a charcoal fire.
As “ Tofu,” sometimes called bean curd, being a coagulated
vegetable albumen of soy beans, it contains a large proportion of
a
33 —
nutritious matter, most important to humen life, especially, to
those who subsist mainly upon vegetables.
Tofu is prepared for eating by boiling it for a few minutes
with a suitably flavoured sauce. It gives a much better taste
when boiled with fish or meat.
The price of canned Yakiddfu here exhibited is.18 Yen per
10 dozen.
The following table shows the percentage composition of
Tofu, analyzed at the Sanitary Experimental Station in Tokio.
Water. 88.79
Albuminous matter. 6.55
Fat. : 2.95
Nitrogen free extract. 1.05
Fibre. 0.02
Ashes. 0.64
(hk) Kdori-tdfu or frozen bean curd. Produce of Minami
Adzumi-gun, Nagano prefecture.
Kori-tofu is prepared by freezing common “ Tofu” during
winter, and when it has congealed it is immersed into fresh water
for a little while, and then picked out and dried. The method of
cooking it is almost alike with that of Yakidofu or roast ‘“ Tofu,”
the only difference being that Kori-tofu is softened by steeping it
in water before it is boiled. As it can be preserved for many
years it isa suitable for provision for vessels undertaking long
voyages.
The price of “ Kori-tdfu’’ here exlibited, per 800 pieces
at Minami Adzumi-gun in Nagano prefecture during the last
five years is shown in the following table.
Year. Yen.
1888 0.85
1889 1.10
1890 0,90
1891 0.90
1892 1.00
Sd eae AL
VIL. ADZUKI (PHASEOLUS RADIATUS),
Adzuki is grown in city all provinces of the. Empire ;
Hokkoido is especially noted for its. abundant’ produce and good
quality. It.is mostly used for preparing “ An’’—a pulpy mixture
of boiled Adzuki flour and sugar, and in that state is largely
used for making various kinds of confectionary. » }
The specimens of “ Adzuki”’ here: eenuedie are as follows :—
No. 28 Adzuki, red, the produce of Hokkaido.
No. 29 Adzuki, white, the produce of Yomoku-mura,
Higashi Tagawa-glun, Yamagata prefecture.
The price of the red Adzuki (No.'28) above mentioned is
4.85 Yen per koku at Hokkaidd, and that of--the white Adzuki
(No. 29) is 8.00 Yen per Koku at Yomoku-mura, Yamagata
prefecture.
The following table shows the chemical composition of
Adzuki (red) analyzed at Agricultural College at Komaba, Tokio.
Water. be etna
In 100 parts of dry matter.
Crude protein. 20.84
Fat. 1.62
Crude fibre. 6.89
Starch. 65.38
Other N. free substances. 2.31
Ashes. 9.69
Total nitrogen. 3.33
In 100 parts of pure ash.
Potash. 4.5.14
Soda. 2.61
Lime. 3.49
Magnesia. 9.98
Oxide of Iron. 1.09
ey 14 ee
Phosphoric acid. . 83.05
Sulphuric acid. gt Ne OT
Silica. ) OSS
Chlorine. 3 236
Cultivation :—The early varieties are sown the end of
March or the beginning of April, and the late varieties which
are more usually called Aki-Adzuki or Autumn Adzuki are
sown the end of J une at the rate of 2.0-2.5 Sho per “Tan ;’ the
former is ready for harvesting in the month of July and the
latter the end of September. re
The yield of red “ Adzuki” in the vicinity of ‘Sapporo in
Hokkaido is 1.5—1.8 Koku per an. and that of white, at the
districts of Tagawa-gun, Yamagata prefecture is about 1.7 Koku
per “Tan” or about 34 bushels per acre.
PRODUCTION OF ADZUKI.
(a) Sarashi-an or refined flour of “ Adzuki.”
Sarashian is used for preparing various kinds of confection-
ery and “ Shiruko ’—a juice prepared by boiling the flour with
wu suitable quantity of water and by adding sugar at a proportion
of about 120 Momme for every 160 Momme of the Sarashi-an.
Women and children are especially very fond of “ Shiruko.”
The specimen here exhibited is manufactured and sold by Nagata
Hagemu of Hakodate, Hokkaido, and its price is 6 Sen per Ixin.
Preparation :—For preparing Sarashi-an, well washed
“Adzuki” is steamed and crushed in a machine specially
constructed, and decorticated by passing through sieves, rinsed
out several times in water, pressed in cotton cloth bags and dried
over a charcoal fire. It is then ground to fine powder by a
stone mill and:sifted, and a certain quantity is packed into the
paper bags as here exhibited.
VILL SASAGE (DOLICHOS UMBELLATUS).
‘There are many varieties and subvarieties of ‘ Sasage ”
oultivated in Japan; the specimens here exhibited are as follows.
No. 30. Shiro Sasage (white), the produce of Noda-mura,
Sdsa-gun, Chiba prefecture. |
No. 31. Ordinary red Sasage, the produce of Kawagoye,
Iruma-gun, Saitama prefecture.
Sasage is used for preparing ‘“ Seki-han glutinous rice
steamed with ‘“Sasage” and is used customarily at festivals
and birthdays—-and for making various kinds of confectionary.
The price of white “Sasage’”’ in the districts of Sdsa-
gun in Chiba prefecture_is 7.00..Yen. per. Kokuy and that of
common “ Sasage”’ at Kawagoye in Saitama prefecture is 5.80
Yen per Koku.
The percentage composition of common Sasage (red)
analyzed at Agricultural College at Komaba, Tokid is as
follows :—
Water. 12.05 In 100 parts of pure ash.
In 100 parts of dry matter. | Potash. 52.79
Crude protein. 25.66 Soda. 1.06
Fat. 2.02 Lime. 4.40
Crude fibre. 7.96 Magnesia. | 8.12
N. free substances. 59.41 Oxide of iron. 0.80
Ash. 4.95 Phosphoric acid. 27.16
Sulphuric acid. 5.98
Total nitrogen. 4.105 Silica. 0.28
N. in amides etc. 0.390 Chlorine. 0.61
The cultivation of Sasage is in nearly all respects the same
as that of “ Adzuki.” Its average yield is also the same as
“ Adzuki. ”
PRODUCTION GF SASAGE.
(a) Amanatto or sugar preserved Sasage.
(6) Tsuyu-shigure or syrup preserved Sasage.
— 43 —
The above two specimens are produced and sold by Mr.
Fujita Takijird of Nishinokubo, Shiba, Tdkid and the price of
the former (a) is 13.5 Sen per Can, and that of the latter
15.0 Sen per Can.
Preparation :—Amanatto is prepared by boiling well washed
Sasage in distilled water with sugar and evaporating it to
dryness over a charcoal fire, and 'I'suyu-shigure is also treated
in the same manner as Amanatto but it is not evaporating to
dryness, and it is eaten together with the syrupy fluids.
IX. HARICOT BEAN (PHASEOLUS VULGARIES).
INGEN-MAME.
There are two distinct species of Haricot beans grown in
Japan, the one is dwarf, and the other climbing, and each of
these species comprises several varieties and subvarieties.
The followings are the specimens here exhibited.
No. 32. Ingen-mame, known as Otafuku.
No. 33. Ingen-mame, » 4 Udzura.
No. 34. Ingen-mame, ,,__ ,, Anego.
No. 35. Ingen-mame, ,, ,, Shiro (white) Ingen.
The above mentioned four varieties of Ingen-mame are the
produce of Hokkaido. The following shows the market price
of 4 specimens of “ Haricot bean ” or Ingen-mame, the first
three being the price in Sapporo, Hokkaidd and the last one
being that in Tokio.
Otafuku-ingen. 7.50 Yen per Koku.
Udzura-ingen. 4.70 ,, rs *
Anego-ingen. 4:00: =, r %
Shiro-ingen. 1G30°° .,, ye. a
In some varieties, their fresh unripe pods are eaten as food
while in others, the pulse only after ripened is used as food.
Besides being used for cooking purposes they are utilized
in making various kinds of confectionary.
oe ee
.. he: seed’ is sown from the end of April tothe middle of
June and it is fit for harvesting in the months of August and
September. The, average. yield of three varieties grown in the
vicinity of Sapporo, Hokkaidé, are Otafuka 2.0—2.5 Koku,
Udzura 2.0 Koku and Anego 1.2—1.5. Koku per “Tan, ”?
PRODUCTION OF INGEN- MAME.
(a) Refined Haricot bean flour or “ anes -an’” made
of Shiro Ingen-mame: (No. 35).
(6) Refined Haricot bean flour or ‘ Sarashia -an ’’ made
of Udzura-mame (No. 33).
(c) Amanatto or sugar preserved “Haricot ae
Of the above mentioned three specimens, the first two (a) and
(6) aré produced and sold by Mr. Nagata Hagemu’ of Hakodate,
Hokkaido and the last (c) by Mr. Fujita oa oF ‘Nishino-
kubo, Shiba, Tokio.
The uses and method of preparation of ‘‘ Sarashi-an” (a)
and (b) made of Ingen-mame or Haricot beans are just the same
as those already described under the head of Adzuki. VII (@), .
and also those of Amanatto made of “Ingen-mame’’ is, in
all respect, the same with Sasage Amanatto VIIT (a).
‘The price of these specimen where they are produced is as
follows :— 7
(a) Sarashi-an, of white Ingen-mame 12 Sen per Kin.
(6) Sarashi-an, of Uzura Ingen-mame 12 ,, ,, 5,
(c) Amanatto of Ingen-mame joa eee eee
X. PEAS (GREEN).
NO. (36) AWO-YENDO (P/SUM SATIUM),
Peas are one of our ordinary farm crops and is cultivated to
more or less extent in every district of Japan. The specimen
here exhibited is the produce of Hokkaidd where it is abundantly
cultivated and it is noted for its fine quality. Though we have no
sis, elec
accurate statistics of the total amount of the produce at present,
yet from the result of investigation made in 1888, it may be
estimated to be more than 200,000 Koku.
The price of peas depends much upon the quality. The
specimen exhibited costs 4.30 Yen* per Koku in the market of
Sapporo, in Hokkaido.
(a4) Preserved Saya-yendo or green pods of peas.
The spcimen of preserved green pods of peas here exhibited
is prepared and sold by Mr. Nakagawa Koshichi of Ginza,
Tokid, and the price is 16 Yen per 10 dozen Cans.
XJ. BUCK WHEAT.
“Soba” Fagypyrum esculentum, Mench. he two speci-
mens and one product, in appeadies are exhibited as in the
following :—-
No. 87. Buckwheat. Produce of Togakushi-mura, Kami-
midsuuchi-gun, Nagano prefecture.
No. 88. Buckwheat. Produce of Tokinogawa-mura, Nita-
toshima-gun, Tokio-fu.
PRODUCTION OF BUCK WHEAT.
(a4) Kori Soba (frozen buckwheat cake).—Prepared by
Mr. Nakamura Chiyokichi of Kashiwabara-mura, Kami-midzu-
uchi-gun, Nagano prefecture.
The two specimens, No. 37 and No. 88, of backwheat erain
differ in quality and in the lacality where they are grown.
The Japanese are very fond of “Sobakiri” which is made
from buckwheat flour. To prepare this diet, the flour is
well kneaded, making it into a thick paste by adding a little wheat
flour and water ; sometimes mixing at the same time, either some
eggs, or finely grated root of Yamanoimo (Dioscorea Japonica,
Thumb.), or green Tea flour to add the flavour. The thick paste
is now by means of a wooden roller, spread thin on a wooden board
* The rate of price on November, 1892.
ye
and carefully folded to the breadth of about three inches, and cut
transversely from one end so as to make the long and thin square
threads which are known by the name of “ Sobakiri”’.. ‘To serve
this, it is once boiled and eat either hot or cold with soy
sauce flavoured with various condiments, or boiled with soy
together with fried fish, fowl’s flesh, eggs, and vegatables &c.
‘The “ Kori-soba,” exhibited as the product of buckwheat
flour, is made during severe winter from “ Sobakiri” which is
prepared as described above. ‘The boiled ‘‘ Sobakiri ’ is exposed
to severe cold and frozen during the night and then well dried by
means of fire, the product being spongy like in texture. This
Korisoba or frozen buckwheat cake is chiefly produced in the pre-
fecture of Nagano where the low temperature is taken advantage
of to let the “ Sobakiri”’ freeze, the thermometer standing at the
time about 10° C: below zero. ‘I'o serve this, it is thrown into
boiling water and after about a minute, or two, cold water is
poured in. Then, it is taken out of the vessel and washed twice
or thrice with cold water and eaten with soy sauce or other-
wise variously flavoured. “ Korisoba”’ can be stored for any
length of time without any change in taste and flavour.
iy oe value of “‘ Korisoba’’ in the place where it is produced
is :-—
One pound packed in a box of Wirt (Paullownia Imperialis)...
35 Sen.
‘Two pound packed in a box of Kiri (Paullownia Imperialis).
65 Sen.
Cultivation :—Buckwheat is sown broadcast or in rows, with
ashes and farmyard manure, either at the beginning or middle of
March, or at the end of May or at the beginning of August, each
maturing at about seventy five days from the time of sowing and
consequently it can be raised thrice in a year from the same plot
of land, if the district is im the temperate, subtropic or
tropic zone. For this purpose, the seed of an early variety
known by the name of “ Sando-soba”’ is highly esteemed. It is
suited to the light and deep soil of inferior quality, especially to
=- 47 —
the soil of old quarternary loam rich in vegatable mold or newly
reclaimed and burnt soil of the same nature. The most noted
place for the finest quality is Nagano prefecture, the locality where
the specimen, No 37, shown is produced.
The average produce of buckwheat is estimated at about
3+ kilolitres per acre and the total sum for the year 1887 through-
out the empire is recorded at 205,535,544 litres.
The local market value of the specimen exhibited during the
last six years from 1887 to 1892 per “ Koku” (==184 litres) is
as follows :—
Mir cea Nagano (No. 37). Tdkid (No. 38).
1887 4.50 Yen S45 Yen
1888 4.50 Ps oa) Ps
1889 4.50 ry aoe. -
1890 5.00 bs 4:55 3
1891 * 5.00 4.17 ‘
1892 SAG) 4 4.17 ™
There is also husked grain sold, the price being dearer by
about fifty silver Sen, and moreover, it requires 1.66 silver Yen
to transport from Nagano to T'dkid per 880 litres including the
expense of packing.
Buckwheat contains a good deal of nutriment and supplies a
large part of human food in Japan as well as abroad. In the
Japanese Empire it is used as “ Sobakiri” or as in cakes by
baking. It is alsoa very valuable food for fowls and also culti-
vated to a large extent for green manure.
Buckwheat flour has been analysed by the Sanitary Experi-
ment Station at Tokio and the following result was as obtained.
Waiter. 12.90
Crude protein. 13.18
Fat. ) 2.72
Non-nitrogenous matter. 68.66
Fibre. 1.16
Ashes. 1.43
sap MER shot
XU. RAPE SEED (BRASSICA CHINENSIS).
NATANI
i)
Rape was formerly cultivated to a great extent but since
the introduction of Kerosene Oil, the acreage of its cultivation
has been much diminished, yet it is grown in nearly all parts of
Japan and forms one of the important farm crops.
No. 39. Rape seed——Medium variety, from
Furumiya-mura, Yasuhachi-gun, Gifu prefecture.
No. 40. Rape seed—Variety known as Shikishima from
iotei-mura, Takashima-gun, Shiga prefecture.
No. 41. Rape seed—Variety known as Hoki, from
Oyachi-mura, Asaake-gun, Miye prefecture.
No. 42. Rape seed—Harly variety, from
Kamisashi-mura, Aidzi-gun, Fukushima prefecture.
Besides the above mentioned four varieties of rape seed,
there are numerous varieties and subvarieties in cultivation, dif-
fering more or less in their qualities and in time of ripening ; but
they are all invariably used for expressing oil which is exten-
sively consumed both in town and country. According to a
return furnished inthe year 1887, the total produce of Rape seed
amounted to 1,157,555 Koku.
Rates of price :—The Rape seed is mostly exported from Kobe
to foriegn countries, and following table shows the yearly rate
of price at Kobe for the period of six years from 1887 to
1892.
| Waal First quality Second quality Third quality
per koku, per Koku. per Koku.
| 1887 5.70 Yen 5.30 Yen 4.80 Yen
| | 1888 5.50 ,, 5.20" ,, AGO”;
| 1889 7.20 ,, 6.60 ,, 6.00 ,,
1890 7.00. ,, G40)...» G0» 3
pe: Aan
. en First quality Second quality Third quality
per Koku. per Koku. per Koku.
Yen. Yen. Yen.
1891 6.20 ,, 5.70 ,, 5.20 ,,
1892 5.50. ,, 5.00 ,, 4,70 ,,
Export :—There is a tendency to increase annually in the
export of Japanese rape seed, and its principal destinations are
England and Hongkong. Its chief ports of export are Kobe and
Nagasaki. The annual quantity and value of rape seed exported
in the last ten years ending in 1891 is shown in the following
table. .
Yes a Jee
1882 1,900 57.000
1883 559,475 11.571
1884. 6,570,608 141.320
1885 611,628 13.747
1886 11,509 0.408
1887 138,230 3.689
1888 1,444,639 39.895
1889 6,890,557 931.741
1890 783,073 24.950
1891 6,159,337 187.164
Cultivation :—In Japan, there are two kinds of fields on
which rape is cultivated. The one is the ordinary upland field or
“Hata”? and the other is the rice field or “'Ta’’ which can be
well drained and dried when necessary ; the former is mostly em-
ployed in the north-eastern provinces of Japan, while the latter
is in the south-eastern part.
Time of sowing the seed differs in different districts, but
generally speaking it takes place from the middle of September
to the middle of October.
In the ordinary upland field or “Hata” the seed is sown at
the rate of 1.2 Sho* per acre, on well prepared and manured soil,
* Sho = ¢) To = yy Koku = 148 litres,
ie Nee
in rows of about 2 feet apart and afterward thinned out to a pro-
per distance, hand hoed two or three times at due intervals and the
crop is obtained in the month of June in the following year.
In the rice field or “ Ta,” the land is ploughed up to ridges
of 2-4 feet wide as soon as the rice is harvested, and on these ridges
the rape plants previously sown in seed beds is transplanted in
the month of November or December, and the crop is ready for
harvest in the month of June in the following year. Soon after
the harvesting of rape, the land in prepared for sowing either
cotton seed or transplanting rice plants which have just grown
to the suitable size in the seed beds.
PRODUCTION OF RAPE SEED.
RAPE SEED OIL “ NATANE ABURA.”
(a) Common rape seed oil, the produce of Osaka.
(6) Common rape seed oil, the produce of Yokkaichi,
Miye prefecture.
(c) Refined rape seed oil or ‘‘ Shirashibori Abura”’ the
produce of Osaka.
The above specimens of oil are all extracted from rape seed ;
and the specimens (a) and (0) are most commonly sold in our
markets. There is no essential difference in quality of these two
specimens of oil the only thing is that, they are produced at dif-
ferent localities. The specimen (c¢) “ Shirashibori Abura”’ is
obtained by refining common rape seed oil and its quality is far
superior. All these kinds of raps seed oil are produced at every
part of Japan.
According to the result of an investigation made in 1887, the
total produce of the oil, in Japan, including ‘ Shirashibori Abura”’
is said to be 257,124 Koku, with an aggregate value of 4,014,942
Yen.
The following table prepared by the 'T6kid Oil Merchant
ae) ee
Association shows the yearly rate of price at the market of Tokio,
for the period of six years from 1887 to 1892, per cask of 0.38
Koku or 68 litres.
eee pg rely bah ore
1887 E27 7.80
1888 6.75 7.28
1889 9.96 10.49
1890 8.45 8.88
1891 es 10.48
1892 (in November). 7.42 7.96
Note. The above rates of price have been obtained by
averaging the prices on the Ist March and lst September every
year. .
The following table given by Mr. Fujita Kinnosuke the Oil
Merchant of Tokid, shows the annual rate of the wholesale price
of “ Shirashibori Abura”’ or refined raps seed oil for the last ten
years ending in 1892, per cask of 0.4 Koku or 72 litres.
Year. Yen.
1887 8.80
1888 9.80
1889 11.70
1890 12.30
1891 10.51
1892 9.60
Both “ Shirashibori Abura” and common rape seed oil are
used as food and for mechanical, lighting, and veterinary pur-
poses. As food it is exclusively used for making “ Aburage ’—
for frying but it is seldom used in first class cooking. In
mechanical purpose, it is applied to various machines, wheels
etc. as lubricant. As lighting purpose, candles are made of it,
besides it is used as lamp oil; though its illumination is far in-
ferior to that of kerosene but no risk of fire is apprehended from
this oil. For veterinary purpose, owing to the cheapness of
price itis often used in lieu of olive oil; various ointments and
also emulsions are prepared from it.
As an article of foreign export, though the oil has not yet
become important yet it is largely exported from Kobe to Corea,
Hongkong, United States of America, Australia, and Russia.
The quantity and value of the export of the oil for each
year from 1883 to 1891 is shown in the following table.
Year. Quantities in Kin. Value in Yen.
1883 131,870 8,299
1884. 105,236 6,583
1885 60,222 3,955
1886 25,136 1,801
1887 23,245 1,442
1888 161,152 10,792
1889 148,567 12,588
1890 ; 19,730 7,934
1891 1,884,832 129,677
XIII. SESAME. (SESAMUM INDICUM).
GOMA.
Sesame is grown to a more or less extent, in nearly all parts
of Japan as an ordinary farm crop, and especially large quan-
tities are produced in the prefectures of Ibaraki, Tochiki, and
Chiba. There are three varieties of sesame, commonly cultivated
in the Empire, viz. yellow sesame, white sesame and black sesame.
The specimens of sesame exhibited are the following :—
No. 43. Yellow sesame, ‘‘ Kigoma.”
No. 44. White sesame, “ Shirogoma.”’
No. 45. Black sesame, ‘ Kurogoma.”’
The above three specimens of sesame are all the produce of
Shigura-mura, Shinchi-gun, in the prefecture of Ibaraki.
Of these three varieties, yellow and white sesames are chiefly
—e ——
See
used in Japan for expressing oil, while black sesame is exclusively
used for cooking purpose either in the grain or after grinding it
into coarse powder, and rarely used for expressing oil, in fact,
black sesame yields comparatively less quantity of oil than the
other two varieties. All kinds of sesame posses a very fragrant
scent, so that, when they are mixed with food either in grains
or in powders after being parched, furnish an agreeable relish,
they are sometimes used as spice.
The chemical analysis of black sesame performed at the Agri-
cultural University, Tokid, gave the following percentage com-
position.
Waiter. 5.85
In water free substance.
Crude protein. 20.80
Fat S246 ..
Crude fibre & N. free ext. 11.88
Ash. 3.63
For the amount of the produce of sesames there is recently
no accurate return, but according to the statistical investigation
made in 1888 the approximate amount is said to be about 34,000
Koku. |
The yearly rates of the market price of sesames per Koku
in T5kid, from 1887 to 1891 are given in the following table.
White Sesame Black Sesame
Year. in Yen. in Yen.
1887 6.557 5.3888
1888 6.557 4.544
1889 9.004 6.061
1890 9.756 7.843
1891 8.264 6.897
The above rates of price have been obtained by taking an
average of prices at the early part of March and September,
every year. The price of yellow sesame is nearly the same with
that of white.
Japanese sesames are not yet largely exported. Some years
ago only a trial export was first made, but the amount is still
very small.
Cultivation :—The seed is sown in the month of April or
May in well prepared and manured land, and in good time after-
ward, the land is hand-hoed two or three times as may be neces-
sary, especially taking care to keep the land free from weeds. At
_ August or September, when some of the first grown capsules are
found well ripe and about to shell out their seed, the plant is
ready for reaping. When the plants are reaped, they are heaped
up on straw mats laid on the ground, and kept two or three days
covered with other mats; by this process, the leaves of the plants
gradually die away and fall off the stems. The stems with the
capsules but liberated from leaves are dried on mats carefully pro-
tecting them from wind and wet, and the seed is shaken off on
mats as frequently as the drying is carried on, until no more seed
remains in the capsules.
SESAME OIL.
(a) Oul of yellow sesame
(6) Oui of white sesame.
‘The above two specimens of sesame oil are manufactured by
Mr. Y. Tamura of Iwatsuki, Minami Saitama-gun in the pre-
fecture of Saitama.
Sesame oil is produced in nearly all parts of Japan, but
naturally the larger produce is obtained at Chiba, Ibaraki, Tochigi,
and Saitama prefectures where the crop is abundantly raised.
As to the quality of oil, that produced at Saitama and Tochigi is
regarded as the best and that of Ibaraki and Chiba consecutively
comes next in order. There is not much difference both in the
quality and price between the kinds of yellow and white oil,
though the former somewhat surpasses the latter in point of fra-
grance. In Japan, the oil is mainly used for preparing food, and
it is also used for preparing hair oil, surgical ointment, and
lubricating various machines. As an article of food, it is used for
making frying “ Aburage”’ etc. and furnishes a superior taste and
flavour than any other common vegetable oil and it is an excellent
substitute for olive oil. When applied for lubricating purposes it
has better merits than rape seed oil, and when used as hair oil,
it not only smells sweet but at the same time it renders the
hair easy to comb and gives it a glossy look.
The following table prepared by the T6kid Oil Merchant As-
sociation shows the rates of the market price of the oil produced
at Iwatsuki in each year from 1887 to 1892.
Superior quality per Koku. Common quality per Koku.
Year. in Yen. in Yen.
1887 9.27 8.80
1888 9.46 8.75
1889 14.30 12.78 |
1890 18.82 12.80
1891 10.50 O57
1892 Gn November). 11.00 10.60
The above rates of price have been obtained by taking an
average of prices on Ist of March and September every year.
XIV. YEGOMA (PERILLA OCIMOIDES, L.).
YEGOMA.
No. 46. Yegoma, produce of Kamitsuga-gun Tochigi pre-
fecture.,
No. 47. Yegoma, produce of Kita-Aidzu-gun, Fukushima.
prefecture.
PRODUCTION OF YEGOMA.
(a) Yegoma oil, produce of Kami-tsuga-gun, Tochigi pre-
fecture.
(6) Yegoma oil, Kita-Aidzu-gun, Fukushima prefecture.
Yegoma plants (perilla ocimoides) are widely cultivated for
> Oke
the seed in the manufacture of oil. The most noted place, is
‘Tochigi prefecture the district where the specimen No. 46. is pro-
duced, and whence a large amount of the oil is supplied to other
prefectures. The total produce of seed throughout the Empire
is estimated at 7,200 kilolitres. The local average cost per 180
litres in each of the six years from 1887 to 1892 is as follows:—
Year. Specimen No. 46. Specimen No. 47.
1887 | 4.33 yen. 4.17 yen.
1888 5.10 v 5.00 -
1889 6.25 93 6.25 vx
1890 6.02 s, 5.56 _
fot eae." .,, BOG. 4" hy
1892 | 6.17 5.26 5
The oil prepared from the seed is extensively used for
various industries but it is not exported to foreign countries at
present.
Cultivation——The seed is sown in a nursery bed in May,
at the rate of about 0.9 litre per “‘ Tan” sprinkling urine over the
bed, and covering lightly with earth.
‘When the young plants have grown to about fifteen centi-
metres high, they are transplanted in rows, and after about a
week urine is given, and again, after two or three weeks the field
is hand hoed giving at the same time liquid manure consisting
of water and urine with the admixture of rice bran or powdered
rape cake. After the second manuring, hoeing is done twice
until the time of harvesting which usually takes place at the end
of September or beginning of October the produce being about
198 litres of seed per Tan.
The two products, (a) and (d), exhibited are respectively pre-
pared from the specimen No. 46 and No. 47 differing in no respect
in quality but only differ in the locality where they are produced.
One thing to be considered here is that the oils exhibited are
7 oe
not of superior quality nor specially prepared, they being the
common sort sold in the market. si
The oil of Yegoma is of a drying character. It stands
severe cold without freezing and when mixed with other oils like
rape seed oil which freezes easily in winter, at the proportion of
about 10 per cent., it does not solidify in cold tempratures. The
following statistical returns of six years from 1887 to 1892 from
the Tdkid .Oil Merchants Association shows its value per cask
containing 72 litres.
Value in Yen.
Common. Goods.
Year. Best Goods.
1887 10.00 9.00
1888 9.10 8.10
1889 11.60 10.60
1890 11.10 10.10
1891 13.45 12.45
1892 10.60 9.60
Average. 10.98 9.98
Extracting the oil——Yegoma seed contains about 17 per
cent. of oil. The seed is lightly charred at first and put into a
large wooden mortar in which it is powdered by beating with a
wooden pestle; it is then sieved and steamed for several
minutes.
The steamed powder is now wrapped with the cloth, woven
with the fibre of palmetto (Chamzerops excelsa, Thunb.), and the
oil is pressed out under a wooden frame.
The proportion of oil extracted from the seed is about 17
per cent. by volume. ‘The expressed oil is now filtered through
Japanese paper known by the name of Nishinouchi and it is then
the common Yegoma oil of trade.
|
!
aoe
XV. HAZE FRUIT (RHUS SUCCEDANEA),.
No. 48. Budohaze fruit.
This is a variety of Haze highly esteemed and so-called from
the large fruit, which derived the name of Budd meaning grapes
and is the produce of Higashi Nogami-mura, Naka-gun, Waka-
yama prefecture.
No. 49. Haze fruit, the produce of Higashi Nogami-mutra,
Naka-gun, Wakayama prefecture.
XVI. LACQUER FRUIT (RHUS VERNICIFERA),
No. 50. Lacquer fruit, the produce of Nagaye-mura,
Minami-Aidzu-gun Fukushima prefecture,
PRODUCTION OF HAZE AND LACQUER FRUIT.
(a) Whitened vegetable wax.—Trade mark 7_ EA
(2) : ” ye» oy AD
(c) ” ” apna een s?? ” ad AJ
(d) ” ” ” ” ” AJ
The three specimens (a), (6), and (c) were refined by Mr.
I*ujita Kinosuke, Tori street, Nihonbashi-ku, Tokio city, and the
last specimen (d) the common article of local trade.
(e) Candle, painted.
This is chiefly produced in the district of Aidzu in Fukushima
prefecture, and the specimens here exhibited are manufactured
and sold by Mr. Matsushita Rihei, of Wakamatsu town, in Kita
Aidzu-gun.
(f) Toilet soap.
(g) Washing soap.
‘The above two specimens of soap are made from vegetable
wax by Mr. Suzuki Yasugord, Nishinokubo street, Shiba, Tokio
citly.
— 59 —
(h) Waxed paper.
( a ) ” ”
The specimen (h) is prepared from paper made from the
fibre of Edgeworthia papyrifera, and the sample (7) is made by
waxing the paper prepared from Wickstremia canescens, var.
Ganpi, both specimens are manufactured and sold by Mr. Hamada
Tomisaburé of Hamachs Nichéme, Nihonbashi-ku, T6ki6 city. .
Haze and lacquer fruit are both important raw materials for
extracting vegetable wax, the former being chiefly cultivated in
the south-eastern provinces, while the latter is produced
mainly in the north-western districts. The lacquer fruit is collected
chiefly, as a bye product from the lacquer tree cultivated for
lacquer. However, both Haze and lacquer trees were highly
esteemed as mere sources of vegatable wax, for animal wax had ,
never been used up to a late time, and consequently the
local government, in the feudal times, took great care of its
cultivation and as a result, trees of many hundred years old,
are found even at the present day.
There are no exact statistical notes about the annual pro-
duce ; yet it is estimated at least as over 45,000,000 kilograms
throughout the Empire.
The value of one “ Kamme ” (=:3.75 kilograms) of Haza fruit
during the last six years from 1887 to 1892 in the local market is
as follows :—
Year. Budo-haze (No. 37).
1887 18.0 Yen.
1888 ie alas
1889 TSA ne,
1890 to oe
1891 if: Spe
1892 Ps ae
ee em
The average value of the last five. years of lacquer fruit is
reported at 3 Sen per “Sho” on the local market.
It has never been exported in the form of fruit, but as wax
which is to be noticed hereafter.
Cultivation.—The Haze trees flourish in a warm soil free from
stagnant water and consequently they are extensively planted on hill
sides or on the banks of rivers or ponds facing south; though, they
are also grown widely on the plains. Plants are raised in a nursery
bed. When they are grown to abouta foot high, after about three or
four years from the time of sowing, they, are transplanted, and begin
to bear fruit after four or five years from the time of transplantation,
but to get the larger produce it requires about fifteen years growth.
If there are any plants which do not bear fruit well, they are cut
down above the ground and other branches areingrafted. They bear
fruit for a long time, some yeilding produce for many hundrred
years when they are properly cared for. To plant an acre of land,
about 100 or 150 young plants are required, giving from 400 to
600 Inlograms of fruit when they are fifteen years old.
‘The method of cultivating of the lacquer trees is nearly the
sane with the Haze tree. They are grown for two purposes, one
being only for the sap and the other both for fruit and sap.
They are propagated either from seed, or by cuttings from the
old root. For the purpose of the sap only, transplantation takes
place when the young plants are about three feet high, and after
cultivating seven or twelve years, the lacquer is extracted by
boxing the tree. ‘This process is called Koroshigaki. After care-
fully gathering the laquer, the trees are cut down above the ground
and the old stamp soon gives off young and vigorous shoots.
For the fruit and sap, the cultivation is quite the same as
for the Haze tree.
Both Haze and lacquer trees are grown with or withovt
manure. The kinds of manure in use are farmyard manure,
compost, or night soil, which is given around the root in
spring and autumn.
eee: ere
WAX.
The refined wax shown, as specimens of the product are
the refined vegetable wax prepared either from the Haze or
lacquer fruit. The four samples from (a) to (d), are made from
Budo-Haze (No. 48) or Haze (No. 49) fruit, the quality de-
creasing from (a) to (d) by degrees. Vegetable wax is produced
in almost every part of Japan, among the most noted districts are
the provinces on the south-west of the Empire, whence a good
deal of vegetable wax is exported. The article fit for export is of
the quality seen in the specimen (d) and those of good quality as
specimen (a) and (b) are not yet exported.
By the statistical returns of 1887, it is estimated at
10,995,334 kilograms.
Value.—The average value for the five years from 1887 to’!
1891 per sixty kilograms of whitened wax in Tokio market is
reported as follows :—
TY) @ xa | © ha (c) BB eR (@) &
1887 16,580 Yen. 15,920 Yen. 15,764 Yen. 14,953 Yen.
| 1888 | 16,754 .,, iGAGi« s 15,920 ,, 15,238
1889 | 15,025 ,, 14,688 4 14,467 13,559
1890 | 14,286 ,, Traian! 5: 13,833 4: 12,698,
: 1891 | 13,169: ,, 12,598 ,, 12,403,
Vegetable wax is chiefly employed for the manufacture of
wax matches, waxed paper, soap, and candles, and also for giving
polish to cotten cloths, and dolls or models as well as for lubricat-
ing machinery. In Japan, the fine quality as sample («) is
chiefly used for making pomatum and that of the lower quality
for candle making. For the above purposes, it is largely con-
sumed in Hamburg, Paris, and Londen. In China, Japanese
vegitable wax is used for solidifying yellow Wax.
Export of vegetable wax.—The annual export is estimated
at about 2,400,000 lbs, & of which is exported from Kobe. ‘The
en: eee
following list shows the quantities exported and the value for the
five years from 1887 to 1891 :—
Year. | Quantities. Values.
1887 * 2,196,580 Ibs. 326,445 Yen. —
1888 BGO FAL ..,, S8E98S" *
1889 2,599,694 350,641,
1890 2,048,838 __,, | 266,848 __,,
1891 2,673,057 __,, 316,835 _,,
The chief places of imports are Hongkong, United States of
America, France, Germany, and England standing in order as to
quantities.
Though Hongkong occupies the first place in quantity, it
is not actually consumed there, but it is re-exported to various
ports. The principal destinations for export and the quantities
and value of the export for the last three years from 1889 to 1891
_ are shown in the followieg table:—
4 1889 1890
destina-
tions. | Quantities) Value |Quantities} Value.
lb. Yen. Ib. Yen.
Austratiea. Y,9SS 02,695 6,858
Belgium . 31,363 4,431 160 20
China. ..... 36,692 5,625 28,943 3,252
France ... 161,566 21,958 220,746 28,820
443,057 60,853
283,577 39,014
7,827 1,10€
249,799 34,715] 206,051 25,892
4,078 581 21,608 2,926
1,547 200 25,353 3,149
1,576 3,065
Germany.
England .
134,225 17,595
64,908 8,396
Various 8.
Extracting wax :—Both the flesh and seed of the fruit contain
wax, but mainly in the former. The fruit is bruised in wooden
mortars separating the seed from the flesh by sieving which is
then steamed, pressed while hot and the expressed juice is poured
into a wooden mold and left to cool. This is known as the first
pressed raw wax. The seed of the fruit is reduced to powder in a
stone mill, seived, steamed, and mixed with the cake of the flesh
part, which has beenexpressed once, and together pressed as before.
The product thus obtained is named second pressed raw wax.
To refine the raw wax, it is transmitted into a metal vessel
with a small quantity of water and liquefied by the addition of
heat. When the raw wax is entirely melted a solution of potash
is added, stirred thorqughly, and then transferred into a wooden
tank provided with a stop-cock from which it is allowed to fall
into a wooden tub partially filled with cold water.
The melted wax, in contact with the cold water in the tub,
is soon coagulated and floats on the surface. The floated masses
are carefully scooped out by a net of fine mesh and then exposed
to sunlight during about ten days sprinkling water from time to
time over the wax and thus, the wax is whitened to a certain
degree as seen in the sample (d) of this product.
Painted candles or Yerdsoku.—The specimen (¢) exhibited is
a product of vegetable wax prepared in Aidzu, Fukushima
prefecture from the lacquer fruit (Sample No. 50). However it
belongs to art more than to practical use ; yet, it is noted for its
beauty.
For the manufacture of painted candles it requires a good
deals of hand work especially in drawing the pictures on them.
Consequently they are not cheap. They are commonly used as
ornaments in Buddhist temples and are burnt at religious festivals.
They are well fitted for use in religious ceremonies where
candles of animal wax are not allowed, the form .and picture
being made according to the wishes of consumers. Painted
candles, manufactured of refined vegetable wax, are noted for
the brightness of flame and the unchangeableness of the colour ot
'' the pictures. |
Value.—They vary much but the price in 1892 on the local
market was as follows :—
tom: Gl se
Large candles, good quality. 0.80 Yen.
” Pe common ,, 0,80: .,
Small _,, good = 0.20 _,,
3 ss common ,, 0.12
99
Soap.—The soap manufacture in Japan is a new
industry, which is carried on according to the method abroad
where the raw material for this industry is of animal origin;
but the Japanese Empire, being rich in cheap, vegetable wax
it is substituted for animal fat. The toilet and washing
soap (fand g), exhibited as specimens are prepared of refined
vegetable wax, and are very economical in comparison with soap
made of tallow or lard.
Value.—The price wholesale in Tdkid is as follows :—
Toilet soap. 60 Sen per dozen.
Washing ,, Bigs ae oe
Mr. Suzuki Yasugord, the manufactures of the sek are able
to supply 500 dozen of each during a week.
Export.—The chief ports of import are China, Hongkong,
Corea, and India. The following table shows the export (includ-
ing soap of animal matter) of five years :—
‘Toilet-Soap.
Meats. (uantities lb. | Value Yen. Washing-Somp.
1887 2,605,287 36,684. 4,884 Yen.
1888 2,611,605 35,580 4,651 rj
1889 1,546,452 23,244 8,346 .
1890 1,319,348 22,379 12,592 %
1891 1,284,117 30,026- Lb FBS a
The export duty on soap is 48.23 Sen per 100 Ibs.
Waxed Paper.—The specimens (2) and (?) are made by
smearing the vegetable wax (a) exhibited upon Japanese paper.
It-is largely used for wrapping soap, cut tobacco, &c. Japanese
paper, as already known, is quite soft, but very tough, and
the waxed paper has the same properties which facilitate the
ee aan
use of it beyond the wax paper from abroad.
The market price of the two specimens in TOdkid is as
follows :— ,
Waxed paper (/) 2.25 Yen per 480 sheets.
i oe) 3.50 ye gee a:
XVII. HEMP (CANNABIS SATIVA),
ASA.
Hemp is cultivated to more or less extent in nearly all
provinces of Japan, extending from Kitshia in the south-west
to Hokkaidd in the north-east. With regard to the fineness of
quality and also its strength and durability when manufactured
into rope, cordage, twine, canvas, and various cloths etc., the
Japanese hemp has no rival in the world but its price being
rather high a very little is exported to foreign countries, and on
the contrary, recently, hemp raw and manufactured are
extensively imported into Japan from China and Philipine
Islands, where the price according to its inferior quality is
much lower compared with Japanese hemp. Chinese hemp is
used in Japan for making kite strings and various rope used for
binding cargoes etc., while hawsers and other rope used in
merchant vessels, and twine are manufactured with Philipine
hemp. However, great inducements both in the cultivation
and manufacture of hemp are now given, and there is every
reason to expect a time in future, when Japanese hemp of su-
perior quality will be at a much cheaper rate than at present, so
as to meet both native and foreign demands.
The following specimens of Japanese hemp are exhibited.
No. 51. Okaji Asa, produce of Kiyosu-mura, Kami-tsuga-
gun in Tochigi prefecture.
No. 52. Hikiji Asa, produce of Higashi-Oashi-mura, Kami-
tsuga-gun in Tochigi prefecture.
en Ee es
No. 58. Itazoku Asa, produce of Itako-mura, Kamitsuga-
gun in Tochigi prefecture.
No. 54. Kokiso, produce of Mikawa-mura, 'Fakamiya-gun
in Hiroshima prefecture.
No. 55. Kokiso, produce of Ichiyama-mura, Ochi-gun in
Shimane prefecture.
The following table shows the produce of hemp fibre in the
years 1887 and 1888.
Years. Quantity in Kwamme.
LSov. .* 2,396,856
1888 3,016,172
The rate of price varies greatly according to the quality,
the highest reaches to 86 or 37 Yen per 100 Kin while the
lowest goes down to 11 or 12 Yen.
The following tables show the latest cost of the five kinds of
hemp mentioned above, at the place where they are produced and
also the average cost of same throughout Japan and that of
Tokid, for the period of four years, 1887 to 1891.
Kind of Hemp. Ist Quality per 2nd Quality per Common Quality
10 Kwamme in 10 Kwamme in per10 Kawmme in.
Yen. Yen. Yen.
(a) Okaji Asa. 23.333 20.000 16.666
(6) Hikiji Asa. 15.000 13.333 11.000
(c) Itazoku Asa. 13.333 12.000 10.500
(d) Kokiso, Hiroshima. (Average). 17.000 —
(e) Kokiso, Shimane. # 9.000 —
Average price through-|Average price in Tdkid
Year. out Japan market
per 100 Kin in Yen. per 100 Kin in Yen.
1887 20.450 17.650
1888 19.520 17.480
1889 20.990 16.280
1890 19.480 20.000
Lit) a | oe 19.192
Snir
Cultivation :—The soil best suited for hemp, is said to be
well drained rich, sandy loam. The method of growing
hemp differs more or less according to climate and. charac-
ter of soil, but, generally speaking, the land manured with a
heavy dressing of farmyard manure is ploughed up in the
month of November, and in March of following year the soil is
well pulverized to a fine tilth. In the end of March or the
beginning of April the seed is sown in drills of 1 “ Sun” deep and
7 “Sun” apart, at the rate of 5 to6 Sho per “ Tan,” so as to drop
about 3 seed in | “ Sun” in the drills, and top dressed with mixed
manures composed of about 24‘ Kwamme”’ of fish guano, 40
“ Kwamme ” of wood ashes and 80 “ Kwamme’”’ of ordure, and
then thinnly covered with soil. The sorts of manures given, of
course, differ greatly in different localities. About ten days
after germination which usually takes place in a week after
sowing, the seedlings which have grown to the height of } to 4
“Shaku,” are thinned out and afterward the land is hand-hoed
and weeded several times at due intervals.
Hemp is ready for harvesting at about 120 days after sowing,
about 20th of July. In harvesting, the plants are pulled out,
and leaves and roots are cut off with a sickle, and the stems are
sorted into long, medium and short kinds according to their
length, and bound in bundles of + “ Shaku ” in diameter. These
bundles are steamed for a few minutes in a steaming bath
specially constructed, and dried in a sunny situation for three
days, when they are fit for keeping to be manipulated accord-
ing to the condition of weather if favourable or unfavourable. If
good settled weather is anticipated, three bundles of the stems
above mentioned are made into one bundle, exposed to the sun
turning up side down once a day for about three days; then
dipped into water and exposed again to the sun for a number of
days, until they are completely dried, and they are kept in a dry
place for future work.
For preparing the best quality of hemp fibres, the
2a AH cots
drying process takes thirty days and for 2nd and 3rd qualities,
respectively fifteen and twenty five days are required.
For separating hemp fibres from the stalk, the bundles
treated as above mentioned are immersed in water and
moderately fermented by heaping them upon a thick bed of
straw or straw-mats in a barn specially built for the purpose.
The number of hours depend much upon the temperature at
that time ; in short, the fermentation requires great skill.
When the stalks are fermented to a proper degree, the
fibres are separated by hand and immersed in water, and the
outer skin is scraped off also by hand with tools specially
constructed, and dried in well ventilated places by hanging the
fibres on bamboo, without exposing to the sun.
The produce of hemp fibres varies greatly according to the
quality ; the average yield of (No. 51) Okaji, (No. 52) Hikiji and
(No. 58) Itazoku is about 12.5 “ Kwamme,” per Tan while that
of (No. 54) Hiroshima Kokiso and Shimane Kokiso is, respec-
tively, 17.5 and 22.0 “ Kwamme.”
PRODUCTION OF JAPANESE HEMP.
(a) Navy Canvas (No. 1.)
(db) _ 3 (No. 2.)
{ ¢1) a re (No. 3.)
(d) zs Zz (No. 4.)
(e) Fe 7A (No. 5.)
(Ff) 3 9 (No. 6.)
(g) Hemp duck. (No. 7.)
(h) Hemp thread (No. 16) (dry spinning).
(2 ) ” ” (No. 32) 5, ”
(7) ee eee
(k) re “3 (No. 23) (wet spinning).
(2) ee si (No. 45) ,, és
(7) e e (No. 70) ,, 5
— 69 —
(n) Hemp thread (No. 4).
(0) mn 3) £ eer 8):
(p) Specimens of hemp ropes (No. 1—No 20).
(q) Hemp thread for fishing nets.
(7) : mee LAE ja
( s ) ” 9 ” ” ”
(t) ” 99 9 ” _
(w) Zs ne .
(v ) Hemp thread for angling.
(w) , is % “ $4
(2) Hemp cloth, “ Nara-zarashi” Ist quality.
(y) = » ‘“Nara-zarashi”’ 2nd quality.
(z) bs » “Omi-zarashi. ”
(aa) ng ». ‘ Omai-zarashi. ”
(ab) 7 », for mosquito net.
Ce ee eee
(ad) 33 ee oe 3 i
The varieties of Canvas (a) to (/) are all manufactured with
Japanese hemp, No. 52 Hikiy or No. 53 Itazoku, and on
account of their strength and quality they are chiefly supplied
to the navy and army. ‘They are used in the navy for making
various sails, hammocks, bags for clothes and provisions, etc., and
in the army for making tents and other things required for night
camps. Besides these mentioned above, Omi Hemp Yarn Spinning
Co. produces two other inferior kinds of canvas generally known
under the name of “Merchant Navy Canvas” and “ Navy
Canvas” but both of them being almost alike in quality with
those made in America and Europe are not exhibited.
The stability, tensity and weight of the above six varieties of
canvas manufactured at Omi Hemp Yarn Spinning Co. are shown
in the following table :—
K
she, i os
Number Lineal Lineal Lateral Lateral we ny par
of Stability Tensity Stability Tensity |) 96 cards.
Canvas. Kilogram. | Milimetre. | Kilogram. | Milimetre. oe eaten:
: ilogram.
No. 1 124 80 195 30 18
No. 2 114 Far | 167 29 16
No. 3 102 74. 144 28 15
No. 4 93 71 126 QT 13
No. 5 86 68 oe sik 26 12
No. 6 act 65 100 27 Bi
Note :—The figures given in above table are the results of
experiments made with a small piece of the canvas—380 milimetres
in width and 300 milimetres in length, so that their intrinsic
stability is far more than given in the table and their real tensity
is much shorter. : 7
The specimen No. 7 a thick kind of canvas, made of the same
material as those above mentioned, is also the produce of the said
company and it is chiefly used for the working dress of seamen
in the navy, and for beds, working dress of engineering corps,
medicine bags, etc. in the Army. The thickness of the cloth may
be made as required by any one who orders it. The stablility* of
this canvas is 140 kilograms in lateral and 130 kilograms in lineal.
lts tensity is 60 milimetres in lateral and 20 milimetres in lineal.
The weight of one bolt of 28 inches wide by 36 yards long is 9.5
lolograms.
The following table shows the market price of above men-
tioned seven varieties of hemp cloth manufactured at Omi Hemp
Yarn Spinning Co. in the year 1892.
Sie dele haticies. Width and Length Price per bolt
of a bolt. in Yen.
Navy Canvas (No. 1) 2 ft. x 36 yards. 12.50
bP 29 (No. 2) 9 x 29 12.00
“4 Cito: 3) ye , 11.50
* The figurs here given are the result of experiment, made on a cloth of
55 milimetres wide by 300 milimetres long.
i. Hs.
Wilke of tue Maielde. Width and Length Price per bolt
of a bolt. in Yen.
Navy Canvas (No. 4) 2 ft. x 36 yards. 11.00
= » GNOiB) ery 10.50
93 ye UNO.) fae 10.00
Hempen duck (No. 7) 21 ft. x 40 yards. 8.80
Yarn (h) is used for weaving the stuff for soldiers’ dress.
Yarns (7) and (j ) are employed for manufacturing navy canvas.
Thread (7) is composed of 2 yarns twisted together and is used
for making fishing nets. Thread (0) is composed of 5 yarns and used
for sewing canvas, leather etc. These five kinds of yarns are all
made of Japanese hemp, No. 52 Hikiji and No. 53 Itazoku.
Yarn (k) is also made of No. 52 Hikiji and used for weaving
mosquito nets and other hemp stuff. (7) and (m) are both made
of No. 51 Okaji and applied for making “ Omi-zarashi” or
“ Katabira ” cloth.
The following table shows the rate of price of above men-
tioned eight varieties of yarn which are produced by the Shimo-
tsuke Hemp Yarn Spinning Co.
Kind of Yarn. Per 100 lbs. in Yen.
(i) Yarn (No. 16) dry spinning.
Coy ,, “ENG: BH B. \ 91.20
(Gj) 4» (No. 6% + a: 22..90
(k) ,, (No. 23) wet spinning. 29.21
C2) ° =," ° GNor 45) as ; 49.82
nee BL UNo 28) is ; 92.20
(7) 'Thread (No. 4). 28.50
Oy eg AEN es Se 34.00
The rate of price of various kinds of yarns manufactured by
Shimotsuke Hemp Yarn Spinning Co. is given, in the following
table.
Numbers of Yarn. Price per 100 lbs. in Yen.
No. 5. 21.80
No. 10. 24.60
No. 15. 27.80
wan Mrs
Numbers of Yarn. Price per 100 lbs. in Yen.
No. 20. 24.90
No. 25. Skiso
No. 380. 36.35 -
No. 33. 39.50
No. 35. 40.94
No. 40. 44.02
No. 45. 49.82
No. 50. 56.23
No. 55. 62.70
No. 60. 64.50
No. 65. 77.52
No. 70. 92.20
Note:—Though the said company produces different
staples of yarn from No. 1 to No. 80, all are not always
manufactured, but only those which are in demand in the
markets. Thg price in above tables refer to the year 1892 and
only those yarns which secure now-a-days the largest demand in
the markets are mentioned.
Specimens of hemp rope (p) which comprise 20 different
sorts are manufactured by Tokio Seikd Kwaisha or Tokio
Rope Manufacturing Co. These 20 kinds of hemp rope may be
divided into two classes, viz. Running and Standing rigging.
Generally three strand ropes are used for running rigging, No.
2, No. 8, No. 5, No. 7 and No. 10 to No. 14 belong to this class.
The standing rigging are usually of four strand ropes such as No.
1,No. 4,and No.8. No.6 is composed of three lines of three strand
rope laid up left handed and used for mooring ropes of vessels
etc. No. 9 laid up left handed and on account of easy handling
being much softer than right handed rope is used for gear of guns
etc.. No. 15 is twisted in the same manner as No. 6 and used
for sea sounding line. No. 16 is used for various purposes but
chiefly for fitting standing rigging of vessels. No. 17 is
composed of three lines of two strands twisted together and mostly
\
used for log lines. No. 18 to No. 20 are all small lines and
used for serving large ropes to prevent chafing and many other
purposes.
Of these specimens of hemp rope, the smaller ones are
manufactured: with hemp Okaji (No. 51) or Hikyi (No. 52),
while the larger ones are made of Itazoku (No. 53).
Besides those varieties of rope above mentioned, the Tdkid
Seikd Kwaisha also manufactures different sorts of rope with
Manilla hemp used for mining, civil engineering, and fisheries.
The following table shows the price of above twenty sorts of
hemp rope.
cee ites of R Circumf’ence Bet: ae
umber. Qualities of Rope. at ate elders g.
in Yen.
1 4 strands, white 152 18.25
2 3 strands, pale 140 17.25
3 3 strands, white 127 18.25
4 4 strands, pale 114 17.25
5 3 strands, white 102 18.50
6 9 strands, pale | 98 19.25 -
7 3 strands, white 76 18.50
8 4 strands, white 64 18.50
9 3 strands, left h’ded, p’e. 51 17.75
10 3 strands, white 38 18.75
ll 3 strands, pale 29 18.00
12 3 strands, white 25 19.00
13 3 strands, pale 25 18.00
14 3 strands, white 20 21.00
15 9 strands, white 20) 22.00
16 9 thread, pale 20 19.75
7 . 6 thread, white 15 19.50
18 - 3 yarn, pale 12 19.25
19 2 yarn, white 12 19.20
20 2 yarn, pale 10 19.00
The Hemp thread (q) is used for making several kinds of
fishing net such as gilt net, casting net etc. (7) and (s) are also
used for netting purposes, especially for eel net and the former is
a yee
applied for making a net of fine meshes while the latter for larger
nettings, and these two kinds of thread are largely used in
Japan. The uses for (¢) and (wv) are almost the same as those
for (7) and (s). (v) and (w) are used for common hand fishing lines.
Of these seven specimens of hemp thread, (q), (v), and (w) are
manufactured with Okaji (No. 51) (r) and (s) with Hikiji (No. 52)
and (¢) and (w) with Itazoku.
The prices of netting and fishing lines in Tokid, in 1892
are as follows :—
Kind of Thread. Price pe POTD:
in Yen.
(q) 1.50
(r) 0.40
(s) 0.30
(t) 0.40
(u) 0.30
(v) 1.80
¢ (w) 1.70
Hemp cloth called Nara-Zarashi (z) Ist and (y) 2nd quality
are both used for summer clothes ; Omi-Zarashi (z) for making
under clothes for summer and (aa) for summer clothes, wrapping
cloth or Furoshiki, &c. (ad), (ac) and (ad) are used for making
mosquito nets. All of these hemp clothes are manufactured
either with Okaji (No. 51) or Hikiyi (No. 52).
XVIII. MAO FIBRE (BOEHMERIA NIVEA),
No. 56. Mao.—lst quality, produce of Nishi-[wokawa-
mura, Nishi-Murayama-gun, Yamagata pre-
fecture.
No. 57. Mao.—2nd ‘quality, produce of Nishi-[wokawa-
mura, Nishi-Murayama-gun, Yamagata pre-
fecture.
a
No. 58. Mao. Produce of Chatan-magiré, Nakagami, Oki-
nawa prefecture.
XIX. BANANA FIBRE (MUSA BASJOO).
No. 59. Banana fibre. Produce of Nakagusu-magiré,
Nakagami, Okinawa prefecture.
PRODUCTION OF MAO AND BANANA.
(a) Yechigo chijimi (Mao cloth).
(6) Okinawa jydfu ( ,, ,, ?).
(c) Bashofu (Broad banana cloth).
The fibre of the Mao excels that of hemp by its flexibility,
fineness and high lustre. ‘The finest quality is consumed in
weaving costly cloth which is highly esteemed by the Japanese
for summer dresses, and that of the low quality is used for mak-
ing fishing net, angling line &c. The Mao fibre ig more or less
produced throughout the Empire but the chief prefectures for its
production are Yamagata, Fukushima, Niigata, Nara, and
Okinawa.
According to the return made in the year 1887 and 1888
the total produce of Mao fibre was :—
Quantities.
932,426 Kalograms.
899,284 3
1887 2,422,200 e
1888 505,515 4
Value.—The following list shows the value per 150 kilo-
grams in Nishimurayama-gun, Yamagata prefecture during five
years, 1888-1892 :—
oe Aas,
Years. | Value of Superior Goods.|Value of Medium Goods. |
1888 95,39 Yen. 70.00 Yen.
1889 OLFL 3, CE264-
1890 84.90 __,, 6E.a000.4
1891 SOi50" s 7a na ee
1892 POU? ~ 55 Bp.O0" : 4,
Cultivation and preparing the Mao fibre from the plant :—
The following brief note is based on the method practised in
Fukushima and Yamagata prefectures. Boehmeria nivea is a
perennial plant and thrives best in hot climates, but fibre of finest
quality seems to be raised in colder districts than in warmer
places provided that the cultivation, manuring &c. being well
organized, which at least, is the fact in Japan, the produce of
Okinawa prefecture in the tropic, and Nara prefecture in subtropic .
regions being bulky but of inferior quality, while in the northern
prefectures in subtemperate region yield smaller quantities
but of finer quality. In the northern prefectures it is usually
harvested once and very seldom twice but in the southern pre-
fectures it can be cut thrice ina year.
Soil fit for the plant is deep gravel loam sloping to the south
or on hill sides fully exposed to the sun or warm places with some
shelter from strong wind. Such soil gives a fine and strong
fibre. If the land is flat and soil clayey, the fibre is weak and
rough in quality though the quantity produced is heavy. It is
planted once in every six or seven years and even endures and
pays well for fifteen or more years if it is carefully treated.
The way of propagation is quite the same with that of the
hop plant, that is, it is propagated either by sowing the
seed in a nursery bed or by cuttings from the old root ; but the
common and usual method is the latter. Land to be planted
should be deeply plowed and well pulverized. Now long ditches
90 ¢.m. deep and 60 c.m. wide are dug in parallel rows and filled
ig: : ee
up with farm yard manure equally mixed with finely pulverized
earth, and then raised into ridges flat on the top the face being
about 40 c.m. wide. At the end of March or beginning of April,
young shoots which spring out from the old stubbles are cut off
with sharp knives and made into cuttings of about 15 c.m. long.
These cuttings are inserted on the prepared ridges at the dis-
tance of about 10 c.m., leaving about 3 or 4 ¢.m. of end of the cut-
tings uncovered with earth. After they are planted water should
be sprinkled if the weather is too dry. Weeding is done three or
four times during a year. In the first and second year, the
plants should never be cut but left to wither and decay, and a
top dressing of farm yard manure and compost given. In
autumn of the second year the plants are covered, by scattering
over them straw or thin branches of trees over which liquid
manure is sprinkled after snow has once fallen. arly in the
spring of the third year, weeding is performed and at about the
beginning of June, the young shoots will have grown to the height
of about ten centimetres. At this time, the straw or branch of
trees covering them in the previous year, is folked together and
dried and burnt. The burning is repeated every year in order
to destroy the young shoots because the shoots which come up
first will usually yield very small quantity of fibre of inferior
quality and moreover the ashes produced by burning will act as
manure for after growth.
Thus in the third year, the plant will grow luxuriantly,.
thickly covering the land and give the first-heavy praduce, manure
is given twice, once in June after the burning and next in autumn
after the harvest, the quantity and sort of manures being in
general as follows :—
Night soil 5.4 Hectolitres per Tan.
Farm yard manure 135 Falograms,. 4, -:s»
Harvesting :—In the sonthern prefectures harvesting takes
place thrice in a year, each respectively at the end of May or
begining of June, end of June or beginning of July and end of
eos. fear
July or beginning of August. In the northern prefectures it is
harvested only once at the end of August or beginning of Sep-
tember, produce ranging between 56-68 kilograms of fibre per
tan when highly cultivated and 15-20 kilograms in ordinary case.
The plants are cut just above the ground, the leaves stripped,
the stems sorted and steeped in water before the outer bark is dried.
After steeping about ten hours, the stems are taken out and the
bark is at once stripped. These raw fibres are made into small
bundles and again steeped in water for about two or three hours.
The soaked raw fibre is now taken out from the water, and the
exterior coarse bark is carefully scrubbed off by means of a dull
edged knife. The scrubbed fibres are now dried in the shade
hanging them one by one, on poles or ropes. When they are
almost dried, they are arranged on the roof of the house exposed
to the sun and dew for about a week, during which time the
fibre becomes snow white and gets a beautiful lustre.
The Banana plants are only grown in Okinawa prefecture
for the purpose of trade though they are widely distributed in
the districts in the temperate zone where they are planted for
ornamenting gardens only, accordingly, the annual produce of the
fibre is not so great. The fibre is white in colour and coarse in
feeling. It is woven into cloth known by the name of “ Bashofu ”’
which is highly esteemed for under shirts for summer as it
is lighter by about = to ¢ of the weight of hemp and flax, and for
not sticking to the skin when perspiring.
It is highly esteemed as a substitute for wall paper.
Products annexed :—Yechigo chijimi (a) and Okinawa jyofu
(4) are used for summer dresses of the higher class of Japanese.
Bashofu (c) is not used for cloth but for ornamental bordering of
“ Kakemono,’ and in place of wall paper &. The value of
this product in the year 1892 is as follows :—
Yechigo chijimi. 8.50 Yen per Tan.
Okinawa jyofu. 260-3
Bashofu. d by are
et ewe
XX. PAPAR MULBERRY BARK SROUSSONETIA
PAPYRIFERA).
KOZO.
No. 60. Raw bark.
No. 61. Bleached bark.
The above two specimens are the produce of T'subodami-
mura, Mugi-gun, Gifu prefecture.
No. 62. Pulp made of paper mulberry.
XXI. MITSUMATA BARK (EDGEWORTHIA PAPYRIFERA).
No. 63. Raw bark.
No. 64. Bleached bark.
The above two specimens are produced in Mutsuai-mura,
Minami-koma-gun, Yamanashi prefecture.
No. 65. Pulp made of Mitsumata.
XX. GANPI BARK (W/CKSTREMIA CANESCENS).
No. 66. Raw bark.
No. 67. Bleached bark.
The above two specimens are produced in Irokawa-mura,
Higashi-muro-gun, Wakayama prefecture.
No. 68. Pulp made of Ganpi.
PRODUCTION OF PAPER MULBERRY, MITSUMATA,
AND GANPI FIBRE.
In addition to the above, the products of their fibres are
shown. They are:— —
(a) etter paper and envelopes (4h No. 18).
(b) Ganpi paper (Ah No. 27).
(c) Sukikomi paper (Ah No. 49).
(d) Ink Oydshi (paper for pen writing. 4h No. 54).
(e) Yakuseishi (for writing and printing. 4h No. 55).
et) ee
(f) Paper mulberry paper (4h No. 70).
(g) Gaikoshi (4h No. 75).
The above seven specimens are manufactured by Yedogawa-
Seishi-gaisha, Tokio,
(kh) Dzugashi (drawing paper No. 4).
(7) Tengujyd (No. 7).
(7) ‘Tormokogami (No. 10).
The above three specimens are produced by Mr. Hattori
‘Gensaburoé, Tdkis.
(k) Wrapping paper, bleached.
(2) Wrapping paper, unbleached.
(m) Mitsumata pulp (in form of thick sheet).
The above three specimens are prepared by Fuji Seiski-gai-
sha, Tokio.
(2) Wall paper No, 1
(0) sie) is pn
(p) , " only
Clley igh gg » 4
(7) Ar pee
(s) aes + oe
(t) a3 y Se ths
The above seven wall papers shown are made by Niphon-
Kabegami-kaisha, Tokio.
The fibres of the Paper mulberry, Mitsumata, and Ganpi
are the main raw material for paper making, the last being valued
especially for producing the smooth, fine, and high lustred paper.
However, Japanese paper is usually made of two or more raw
materials and is very seldom prepared from a single material.
Moreover, the fibres of Ganpi and Mitsumata are not strong
enough singly, yet they are extensively used with other coarse raw
materials in order to give the tenderness, smoothness, and lustre
to paper of low quality.
The following table shows the yeild of the raw bark of paper
——— OO — ee eee
eg om
mulberry, Mitsumata, and Ganpi during the seven years since
1878 :—
Total Produce in Kilograms.
Ss Ne ee daca ea gg a nC eine em er
Paper Mulberry.| Mitsumata. Ganpi.
1878 13,899,414 1,486,395 24,211
1879 20,109,571 — —
1880 18,568,482 — —
1881 23,254,173 — —
1882 16,874,041 2,659,805 6,820
1883 18,380,289 3,538,372 30,148
1888 24,180,132 2,873,109 33,741
The local value of paper mulberry and Mitsumata bark both
raw and refined, during the last five years is represented in the
following table :— .
Mitsumata
P: Mulb : 3 ee
| Value aig ee Gita Pref. bie ee Ee
Years. Raw bark. Refined bark. Raw bark. Refined bark.
100 Kin (=60 | 100 Kin (=60 || 100 Kin (=60 | 100 Kin (—60 |
Kilograms). Kilograms). Kilograms). Kilograms).
1888 | 8.50 Yen. | 17.50 Yen.| 3.78 Yen. | 8.00 Yen.
1889 9.00 ,, 18:00", CM 4 GEO
1890 850 .; PESO .,, 2.66: us, 6.40 ,,
1891 G00 4; 14:00» ;, et a 6.08 ,,
1892 | 5.70 , 1340 ,, | 186 ,, 4.80 ,,
For the value of Ganpi bark there is no certain record for
many years, and, therefore, the latest local price in Higashi- Muro-
gun, Wakayama prefecture, is given :—
Value of refined Ganpi, per 100 Kin. .
First quality 8.00 Yen
Medium ,, 6.40 ,,
Inferior _,, §.60- 4,
*
a
The following brief notes give a sketch regarding the
cultivation and method of preparing the bark of paper mulberry,
Mitsumata, and Ganpi.
PAPER MULBERRY.
The topographical features fit for the plant is a sloping place
facing south-east, so as to receive the full light of the sun and
protected from high wind, The suitable soil is gravel loam, or,
vegitable mould or yellow'loam with some gravel. The propaga-
tion is done either by planting divisions of old roots, layerings,
cuttings, or seeds; but the most common method is the first
mentioned. This is performed in March, digging off young shoots
from the old stubble, which is well manured once in the previous
winter and again early in the spring, and the land is hand hoed at
the same time. The young shoots with some rootlets are cut to
the length of about one foot and planted in rows of about 24 ft.
wide, at an interval of about 3 inches, leaving the top about
2 inches above the ground, manured with some liquid manure,
and covered with straw to prevent burning by the sun. And when
the buds come out at the beginning of June the covering of straw
is taken off and watering is repeated several times according to
need. Weak branches which come out in abundance are taken
off leaving at last only one vigorous shoot. The young plants are
carefully dug out after the leaves have fallen and planted tem-
porarily in some place till the time for transplanting.
There is no particular preparation to be done .on the
land where they are to be planted besides digging holes to
receive the young plants which are usually transplanted at any
time from the end of November to the beginning of January, or
beginning of February to the end of March.
At the time of transplantating, the holes previously dug are
partly filled with farm yard manure or with some oil cake, covered
slightly with earth, over which the seed plants are set one by one,
the remaining open part of the holes is filled up with earth
noe. ee
lightly trodden in round the plants. The seed plants required for
an acre vary very much; but usually range between 1,500-4,500.
Manures used after transplanting are commonly farm yard
manure, grasses, tree-leaves, night soil, dried fish, &c. and they
are given around the plants in spring. Weeding should be done
many times, especially, in the first year and weak shoots prunned
from time to time.
The yield from one acre varies according to the time of
transplanting but the average of five years is- eatimated
at 300-600 kilograms of raw bark. As the plants are cut, they
are steamed and the bark is stripped off before cooling, and dried
by hanging on bamboo frames under the roof. The dried bark
is now steeped in water and when softened rubbed violently in
order to remove the exterior coarse and woody part which is
again cleaned off by means of a small knife then well dried, and is
now ready for market.
MITSUMATA.
Soil fit for the Mitsumata plant is nearly same as that for
the paper mulberry plant; but the topographical conditions
suitable shows quite a contrary result, the paper mulberry
flourishing in exposed situations while the Mitsumata succeeds
in shaded places but free from stagnant water, and consequently,
the best situation for the Mitsumata culture is the slope of
mountains or hill sides, the soil gravel loam, belonging to the
geological formation of paleozoic or mesozoic.
It can be propagated either by seed, layering, or by cuttings ;
but the most extensive and practical method is raising plants
from the seed. The seed is sown between the rows of barley or
wheat or any other places where they are not exposed to sunlight.
When the land is poor in nature some liquid 1 manure is given to
the rows before the seed is sown.
In March of the next year, the young plants are dug out
and transplanted at the rate of 5,000 per Tan on hilly place or
i
6,000 per Tan on plain land. In planting out it is considered
that a close plantation is rather better than an open one. —
Ploughing should be done two or three times during a year,
manuring at the same time either with Chochin-cake (byeproduct
of rice spirit brewery), oil cake, or rice bran, or sometimes with
ereen manure.
They yield the first produce in the second year and after-
ward, in every other year. It is harvested during the time, from
November to March of the next spring, the yield commonly
ranging at about 300 kilograms per acre, though there are some
cases which gave over 1,000 kilograms of raw bark. The process
of bleaching is quite the same with that of the paper mulberry
bark.
GANPI.
This plant is very rarely cultivated, mostly the bark being
gathered from that of a wild growth. Soil fit for the plants is clay
of red or yellow colour in an exposed situation, such as a moun-
tain or hillside facing south. Seed is sown at the end of March
or beginning of April and covered slightly with earth. After they
are germinated, weeding should be performed, manuring with
some liquid manure and drawing the earth around the plant. In
the dry summer of the first year, litters from horse stables or
cows are spread around the plant and watering is repeated as re-
quired. In the succeeding years, hoeing and weeding are done
during the summer, weeds being collected around the plant and
let to decay there.
Harvesting time varies, according to various circumstances,
from the third to the seventh year from the time of sowing. It
is harvested by pulling out instead of cutting and then, new
shoots come up from the old roots left in the ground and more-
over seed dropped germinates naturally and they do not want
to be transplanted again. The produce from one acre of land
is estimated at about 500 or at most 700 kilograms of the raw
a epee a3
bark. The bark is at once stripped on the farm ; for if the stems
become dry, the fibres are difficult to get and scraping the coarse
outer bark, should be done whilst the stems contain some
moisture. In performing the latter operation, the raw bark is
steeped in water and scraped carefully with a knife and then, wash-
ed thoroughly with water to free it from the adhering matters
and dried perfectly well by hanging on bamboo poles.
The use and value of their products :—The products of the
above three fibres exhibited are as follows :— .
(a) Letter paper and envelopes, @ 1 “ Yen” per case, each
containing 100 sets.
(b) Ganpi paper, for tracing, @ 3 “ Yen” per ream.
(ce) Sukikomi paper, a substitute for napkins @ 80 “Sen”
per 100 sheets.
(d) Inki Oyéshi, for account-books &c., @ 47.5 “Sen” per
100 sheets.
(e) Yakuseishi, for printing books, letter paper, &c., @ 19.2
“Sen” per 48 sheets.
(f) Paper mulberry paper, for printing purposes, @ 33.6
“Sen” per 48 sheets.
(g) Gaikoshi, for bills or printing books, @ 2.35 “ Yen”
per ream.
(h) Dzugashi, for drawings, photograph, or lithographic
purposes, @ 1.62 “Yen” per 50 sheets.
(72) Tengujyo for papering window glass used instead of
ground glass, @ 0.81 “ Yen” per 50 sheets.
(j) Torinoko paper for picture printing, @ 22.50 “ Yen”
per 500 sheets.
(k) Wrapping paper, whitened, @ 22 “Sen” per lb.
Ct) » »unwhitened, @ 20‘ Sen” ,, ,,
(m) ‘Wall paper, No.1,@ 8. Yen per roll (36 x 8 Shaku),
(2) “i in NEG IAM REDD ee ont, ats
(0) a ia NOE caeeae rae 7a ob, >
(p) as Se. oO eS ee a z
”
sh See
(qg) Wall paper, No. 5. @ 6.00 Yen per roll (86 x 8 Shaku).
¢ > ae ie OOOO ice age yg 9
(s) = th bye? Mercer cn. |° ae a
The above specimens from (m) to (s) are prepared
for papering walls &c. for which purpose they are noted for their
elegance and beauty as well as their durablility.
Export :—Japanese papers are known abroad for their great
flexibleness and strength, which qualities are not excelled by any
papers of other nations, and owing to their superiority the ex-
portation is increasing year by year. The statistical export
returns for the three years, since 1889, are as follows :—
For 1889.
JSST EI 2 M2 Le hn FON al he aay, |
— Wall Paper. Ganpi. “Miscellan’us.
Value in Yen. Value in Yen. Value in Yen. |
England... ... Ut. “Gee TBs. 17,404 (jae4
United States A. 12,6382, 4,019 10,797
Hongkong ... ... — — 19,933
Stel ihc 6,795 — —
Branee 00. es. — 14,422 —
027s rr 2,201 54,945
Other ports... ... 1,524 1,030 7,806
cco: i ee T1128 39,076 100,815
For 1890.
England 2... *...1:- $9,082 11,548 14,700
United States A. 15,503 ° 12,604 10,588
Hongkong ... 1,944 — ’ 18,588
Canada & B’sh ay 970 — —
Anstratia. © 3,053 ad a:
France . owt Micke — 5,218 —-
Cia h . Tada ot ees — 1,547 64,326
COR a ta, i, — ——- 3,094
Various ports.. ... 1,109 3,361 8,608
Total ....'.. 101,661 34,276 114,904
fs)? gear
For 1891.
England .. Re ae 51,142 16,645 12,257
United States A... 14,631 15,329 15,514
Hongkong ... 3,828 — 14,209
Canada & B’sh A... 3,043 con —
1 et ralai <r. 7 ne 1,168 ao —
FE AREO ol Beak i: — 14,962 =
00 ee — 3,005 58,037
COVE dak. fe Hates — —— 4,322
Various ports me. 1,116 1,998 8,470
etal ako inc: 74,928 51,939 112,809
XXII. SNAKE GUORD (LUFFA PETOLA).
HECHIMA.
No. 69. Snake guord.
The snake guord is cultivated to a more or less extent in
nearly every part of Japan. There are two distinct varieties of
“Hechima” or Liuffa Petola in common cultivation ; one of which
is long and slender in form and exclusively used as an article of
food, and the other is long and plump from which the fibres of
commerce are obtained.
The specimens of snake guord fibres, here exhibited are the
production of the districts of Minami Katsushika-gun in the
province of Musashi.
Uses :—The fibre is used for various purposes, for example,
such as the heart of hats, the sole of socks or “ Tabi,” for stuffing
saddles, and in the place of sponge for washing, etc. .
The market price of the snake guord fibres at Yokohama,
in each year from 1888 to 1892 is shown in the following table.
vent. an
Length over | Length over
Year. eee ce i 1.18 Shaku 0.9 Shaku under}
eo Oda. lander].25Shaku} 1.1 Shaku.
Sen. Sen. Sen.
1888 2.0 1.2 0.6
1889 2.0 ES 0.6
1890 2.8 1.7 1.0
1891 2.0 1.2 0.6
1892 2.7 1.8 0.8
The fibre is mostly exported from Yokohama, and some
from the ports of Kobe and Nagasaki; and the principal destina-
tions of exportation are London, Havre, Hamburg, San Fransisco,
New York, Shanghai and Hongkong.
The following table shows the quantity and value of snake
guord fibre exported from Yokohama to foreign countries in
each year from 1887 to 1891.
fee) ae
1887 1,320,929 10,831
1888 1,392,535 8,393
1889 735,220 10,512
1890 1,192,687 16,541
1891 793,980 10,018
Cultivation :—The seed is sown in a seed bed in the month of
March, and when the young plants bear four or five leaves they
are transplanted in well cultivated fields—distance between. the
plants being about 1.2 Shaku, in rows of 2.8 Shaku apart—
furnished with horizontal net work of bamboo or poles at the
height of 4 or 5 Shaku from the ground, to which the vines of
the plants twine up and spread all over, and thereby the fruit
hanging down on yines get a proper shape. A suitable number
of fruit for one plant to grow is from 4 to 5, and the average
produce per acre is 24,000 in number. The gathering of the
fruit generally speaking, takes place at the end of September.
wel es
XXIV. RUSH (JUNCUS COMMUNIS).
BINGO-I.
No. 70. Rush “ Bingo-i,” produce of Okayama prefecture.
No. 71. Rush “ Ringo-i,” produce of Fukuoka prefecture.
XXV. RUSH (CYPERUS UNTIANS).
SHICHITO-I.
No. 72. Rush “Shichitd-i” produce of Oita prefecture.
Bingo-i and Shichitd-i are both among the most important
articles of our household as ‘‘ Tatami’ and “ Mushiro”’ (mats)
which are indispensable to be laid down on the floors of all
classes of Japanese houses, are woven of one or other of
these rushes. The mats or ‘“ T'atami-omote’’ made of “ Bingo-
i” being handsome are mostly used by the higher classes
while those made of ‘‘Shichitd-i”” being somewhat rough in
quality are only used by the lower class of people and also
for wrapping cargoes etc. Pith of ‘“ Bingo-i” is extensively
used for lamp wick.
Recently various kinds of fancy mats are made of two
of these kinds of rushes and largely exported to foreign
countries. The total value of the export of mats during the
year (1891) amounted to 650,000 Yen and still there is every
prospect of increasing this trade in future.
“ Bingo-i”’ is chiefly produced at Okayama and Hiroshima
prefectures, and “ Shichito-i” at Oita. We are unable to give
the amount of their produce, as no statistics was ever made
but considering the fact that there is so large a demand for
various kinds of mats both at home and abroad, shows that the
amount produced is by no means small. }
Cultivation of Bingo-i:—The soil best suited for growing
Bingo-i is of a clayey character containing a small proportion
I te
of gravel and resting upon a rather hard subsoil. The plants
sprung out from the stubble cut in the previous summer,
are rooted out and dipped in a dilute urine for 24 hours, and
then divided into bundles of about ten such shoots which are
transplanted in well prepared and manured land in the same
manner ‘as rice plants are transplanted in the paddy field. The
distance from one bundle of the plants transplanted to another
is about 4 Sun that is to say, a bundle of ten plants occupies 4
Sun square of ground. ‘The time of transplanting usually takes
place in the month of October or November but in the warmer
districts it may be as late as the beginning of January. After
the transplantation, the land is constantly watered as in rice
fields and ordures and well rotten farm yard manures are applied
several times at due intervals, especially, taking care to keep the
land free from weeds.
In the middle of July, when fine settled weather is anti-
cipated the rushes are harvested by reaping them with a sharp
sickle, and they are immediately immersed in muddy water
specially prepared in a small pond, by stirring in white clay, and
then dried by spreading on grass land. ‘The object of dipping
the rushes into turbid water is to facilitate the drying by the
effect of the adhering clay, and at the same time to protect
*Bingo-1” from other noxious dusts. The most important
point for harvesting Bingo-i is to pay great attention to the
condition of the weather and in that time, for it is necessary in
obtaining a superior quality, to dry the reaped rushes as quickly
as possible, not exceeding more than 2 days, otherwise they
depreciate greatly in quality and value.
The average yield of “ Bingo-i” is about 250 Kwamme
per Tan.
Cultivation of Shichits-i:—This rush may be cultivated
both in upland or ‘ Hata” and rice field or “Ta.” If it is
grown in upland, soil of a moist nature is preferable, while in
paddy field, too much superfluous water is undesirable. |
Be ee
Shichitd-i is propagated from roots, and for this purpose, the
bundles of three or four plants separated from the mother stubbles
are transplanted in well cultivated and manured nursery ground,
in rows of 5 Sun or 6 inches apart at a distance of same length
between the bundles. The plants raised in 20 “Tsubo” of
such nursery ground are sufficient for Peeee eS ina “Tan”
of the field.
For transplanting ‘“ Shichito-i” in the =e field or “Ta,”
the land is deeply cultivated soon after the harvesting of rape or
wheat crops, and well pulverized and manuered with rape cake
or “ Shodchu-kasu,” which quantity depends greatly upon the
character of soil, and then the land is irrigated. Two or three
root-plants together are transplanted in the rows of 5 Sun
apart at a distance of 3 Sun between the plants. Ten days
after the transplantation the water is withheld and the land is
dried to a certain degree, and weeds are eradicated cleanly, and
again the land is watered. These processes of drying, weeding,
and watering the land are repeated two or three times during
the summer months, and the second manuring is also caipeks. in
the month of July.
| Shichitd-i is ready for harvesting at 80 to 100 days sta
transplantation, in fact, the reaping of the plants takes place
from the end of August to the middle of September. For
harvesting the rushes the weather must be very fine. When
the rushes are repeated, they are torn lengthwise into two
parts with special tools and dried on sandy ground or grass
land.
The average produce per “Tan” is 120 to 250 Kwamme.
PRODUCTION OF BINGO-I AND SHICHITO-I.
The following are the specimens of mats made of “ Bingo-
i” and “ Shichito-i.” .
oe Kinkwanyen, manufactured at a Sans
(0) 2) 99 ? ”»
os eee
(c) Ist quality, Aya-mushiro, manufactured at Bittit.
(d) 2nd ” ”
(e) Damask, Aya-mushiro, ¥ 1%”
(f) Common Aya-mushiro, 3 »
(g) 1st. quality, Somewake-mushiro, ,, 5, Bingo.
(hk) Common Somewake-mushiro, _,, aoe
(7) Damask Hana-mushiro, 4 99
(7) Common Hana-mushiro, a oD
(k) ‘9 Re 9 1” 9
(2) Wikaiori Hana-mushiro, nt ,, Bungo.
(m) Damask Hana-mushiro, ‘3 ee
(x) Common Hana-mushiro, 99 er
(0) mM 3 9 ”
(p) Seidaka Hana-mushiro, > ”
(g) Ordinary Hana-mushiro (best quality), ,, Chikugo.
(7) ” ” ae he ee
Of above 18 specimens* of mats, (a) and (b) are woven with
the best quality of Bingo-i (No. 70), those from (ce) to (4) with
fair quality of Bingo-i, (7) to (p) with “ Shichitd-i’’ and (g) and
(r) with “ Bingo” of (No. 71).
The prices of above mentioned 18 varieties of mats at Kobe
during the year 1892 are shown in the following table.
Specimens. Per Roll of 40 yards by 1 Yard Wide. in Yen.
(a) 1st quality, Aya-mushiro, Okayama. 20.00
ae y ce ye 25.00
(c) Ist quality, Aya-mushiro, Bittiu. 13.50
(d) 2nd quality, Aya-mushiro, _,, 12.50
(e) Damask Aya-mushiro, y, 12.00
(f) Common Aya-mushiro, 9.50
(g) 1st quality Somewake Hana-mushiro, Bingo. 8.20
(hk) Common Somewake Hana-mushiro, 5 5.80
(¢) Damask Hana-mushiro, m 6.80
* These specimens of mats were callected by Messrs. Shimidzu & Co., the
export marchant at Kobe.
aan aa
(j) Common Hana-mushiro, Bingo. 5.20
(k) Ff 3) i vs 5.20
(2) Kikaiori Hana-mushiro, ; re 9.50
(m) Damask Hana-mushiro, a; 7.00
(n) Common Hana-mushiro, a. 5.380
(0) " - Ke 3 . 9.30
(p) Seidaka Hana-mushiro, P 4.20
(q) Ast class, ordinary Hanamushiro, Chikugo. 6.50
ere rr a ‘ 6.50
The largest importer of these mats is United States of
Rrnaics, and England, Austria and Germany follow one after
another. ‘The following table shows the state of foreign tradet
in mats from 1887 to 1891.
‘Decedaon 1887. 1838. 1339. r 1890. 1891.
Value in | Valuein | Valuein | Valuein | Value in
Exported. Yen. Yen. Yen. Yen. Yen.
ery Aug cae aad 98,915) 128,351) 116,595) 290,565} 595,936
England... 3,462} 12,175) 14,898) 18,216) 19,767
Hongkong... — — — 2,828} 11,816
ELEN 8 eect yh 555 6,585 7,356! — —
Australia... 216 1,686 7,893} 20,835 7,516
Germany ... 80 602 6,936 5,610 5,635
Space. 127 1,173) 3,801 2,269 3,908
Other countries.. 2,941 2,653 4,901 7,218; 11,540
Total... ...| 36,296} 148,224) 166,883) 347,541] 656,123
XXVI. TOBACCO (NICOTIANA TABACUM VAR. MACROPHYLLUMM).
(TABAKO.
Tobacco leaves here exhibited are nine in numbers, and their
names and localities where they are produced are as follows :—
No. 73. Hatano, produce of Hatano-mura, Osumi-gun,
Kanagawa prefecture. —
+ No export duty is imposed in Japan on this article.
ses Odes
No. 74. Tate, produce of Kataoka-mura, Kataoka-gun,
Gumma prefecture.
No. 75. Shinden, produce of Higashiyama-shinden, Otori-
eun, Osaka-fu.
No. 76. Mihara, produce of Sunami-mura, Toyoda-gun,
Hiroshima prefecture.
No. 77. Ohazama, produce of Kawame-mura, Hiyenuki-
gun, Iwate prefecture.
No. 78.- Ohazama (unstreched leaves known as Shibariha),
produce of Kawame-mura, Hiyenuki-gun, Iwate
prefecture.
No. 79. Oyamada, produce of Oyamada-mura, Nasu-gun,
Tochigi prefecture.
No. 80. Aso, produce of Kusagaya- mura, Aso-gun, Kuma-
moto prefecture.
No. 81. Kokubu, produce of Kokubu-mura, aes
Kagoshima prefecture. |
Tobacco leaves of good quality fit for Japanese taste, are
extensively produced in various districts; but those required
at present for exportation are the leaves (No. 73—No. 80) here
exhfbited. No. 81, Kokubu is highly esteemed by Japanese
for its pleasant taste and fragrant odour, so that it always
occupies the first place in the market price. It has not been
exported at present; yet, it is added in order to show the quality
of the tobacco, much valued in Japan.° We have still a great
area of land suited for tobacco cultivation and consequently we
are able to supply a larger quantity of leaves of any sort, if the
demand increased from abroad.
The tobacco is produced in every prefecture throughout the
Empire; but those prefectures which produce over 300,000
Kwamme (= 1,125,000 kilograms) are four ; viz., Okayama, Fuku-
shima, Hiroshima, and Tokushima, and there are also eight prefect-
ures which produce over 200,000 Kwamme (=750,000 kilograms).
The following figures show the total produce in four years :—
—= 95 —.
Years. Quantities in Kilograms.
1883 21,124,669
1884 . 22,299,791
1885 —
1886 =
1887 22,756,583
1888 28,852,103
Value:—The following list gives the market value per 100
Ibs. of good quality during the five years from 1888 to 1892
which is reported by the tabacco merchant Mr. Sajihei Tanaka :—
int "| 1888 | 1889 | 1890 | 1801 | 1802
Kind. | 7
Hatano... ...\12.50Yen|11.50Yen/11.00 Yen|12.50Yen|15.00 Yen
eee, LODO OOM: 4.9.00... HO6O-s, MR SOts
Shinden... «.../10.00 ,,. | 9.50 ,, | 8.50 ,, | 9.50 ,,, {13.00 ,,
Wiaheta..., 110,00.; 1:9.50°5 (8.505, |9.50>,, 13.00 ,,
Oyamada ...| 9.50 ,, | 8.50 ,, | 7.70 ,, | 9.00 ,, BY.600
Remarks :—The trade in Shinden and Mihara tobacco is
usually carried on in Osaka or Kobe, Aso in Nagasaki, and all
others in Yokohama. The value of Ohazama is usually the same
with Oyamada. Aso is less by one Yen. Kokubu which is not
exported at present, is valued at 40 Yen in the Tokio market.
Export :—Tobacco has been exported for a long time, chiefly
in the unprepared form and the quantities exported were much
greater than the present years, the local value of them ranging
over 200,000 Yen in the years 1872, 1873, 1874, 1877, 1880,
1881, and 1884 and specially in the year 1885 when it amount-
ed to more than 380,000 Yen. The quantities, value, and ports
of export during the last five years are shown in the subjoined
tabular statement :—
— 96 —
To Great Britain. To China. To France, To Various Ports. Total.
VAG ec oe ae or heel ears ay rs eee ay Ges SENET Bl EER CR iad s
Q’ntities | Value | Q’ntities} Value |Q’ntities) Value, /Q’ntities| Value |Q’ntities| Value
Ib. in Yen. lb. in Yen. lb. in Yen. Ib. in Yen. lb. in Yen.
1887 | 786,037] 65,389] 10,823 674 ay A 52,332 4,344] 849,192] 74,407
1888 | 674,392) 75,824] 78,645} 4,968 1,769 231 414 45! 755,150) 81,068
1889 |1,937,342] 187,587] 17,041 988] 2,910 257| 2,495 318]1,959,788| 189,150
1890 |1,249,816] 117,439] 26,934] 2,209 sy in 6,166 521/1,282,916] 120,169
{1891 [1,010,043] 87,121 oes wee nt ie 9,380 1,054|1,019,423 88,175
Export duty.—0.2411 Yen per 100 Ibs.
Cultivation :—It may differ widely, when treated in detail,
in different prefectures and consequently here it is briefly describ-
ed. Soil fit for the plant are loam or gravel loam of yellowish
color. The nursery bed should be made in a warm place plowing
and pulverizing finely at the end of December, mixing night soil
or rape cake with the earth thoroughly. Seed is sown at the
beginning of February, trampled upon by the feet, and covered
thinly with straw. When the seed is germinated the covering of
straw is taken off and sprinkling from time to time, with the
water preserved after bathing. The young plants require about
one hundred days to grow to about 5 or 6 inches high, when
they are ready to be transplanted. The field is now to be pre-
pared, digging holes in rows, putting the manure into them,
slightly covering with earth, and over which the plants are trans-
planted at the rate of 16,000 to 20,000 per acre. About two
weeks after transplantation, powdered rape cake or fish manure is
given, weeding and moulding being performed at the same time.
Picking insects is the most troublesome work from the first
to the last and never should be neglected. It is usually done
every other day and early in the morning while the dew is on the
leaves. Just before the plants blossom, they are topped leaving
the required number of leaves and from that time suckering
is performed according to necessity. The leaves begin to mature
about sixty or seventy days from the time of transplantation, the
under most leaves presenting a light yellowish color. In some
es fee
prefectures the leaves are usually harvested four times as they
ripen, naming them Doba, Nakaha, Honpa, and ‘l’empa respect-
ively. The gathered leaves are stooked a few hours in order to
make them a little flexible by losing some of the water which they
contain. Then they are hung under the roof of the house (by
ropes of rice straw), or in the house, or in the drying room
specially prepared, for the purpose.
Tn other prefectures, they are left until all leaves are matured,
after cutting the two or four undermost leaves called Doba, and
harvested at once by cutting the stem above the ground. The
cut stems with leaves are hung and dried in the same way as in
the case of the other process.
The drying process requires about forty or fifty days. When
the leaf stalks became brittle and the color turned to the required
degree, the leaves are moistened by sprinkling water upon them
to prevent breaking and then stretched carefully by hand, sorted
into Doba, Nakaha, Honpa, and 'Tempa when separately harvest-
ed, or into two kinds according to the quality when harvested at
once with the stem.
They are made into small bundles, by tying about ten or
fifteen leaves together at the stalk, packed, and ready for market.
XXVIII. SHIITAKE. (LEPIOTA SHIITAKE).
Shiitake is produced in almost all parts of Japan but most
abundantly obtained in the prefectures of Shidzuoka, Kagoshima,
Oita, Miyasaki and Wakayama.
China also produces this article but owing to its inferior
quality they import our prodnce in great quantity.
There are three kinds of Shiitake, viz. spring crop or
“ Haruko,’ autumn crop or ‘ Akiko,” and winter crop or
“Kanko,’” and according to the manner of drying, they are
known in commerce by two names, one is called “ Kiboshi”’ and
the other ‘ Yakiko.”
SAUBR. 2
The former is the best and only obtained when fine weather
continues for a long time, and after maturing of dries itself
on the trees where it has grown, on account of the dryness
of air, without using artificial means, or it is taken off from
the trees and dried by the sun, while the latter is obtained by
taking it raw and drying by artificial heat and is the one which
is most commonly met in the market.
The specimens of Shiitake exhibited are as follows :—
No. 82. Shiitake (Kiboshi) of first class quality.
No. 83. Shiitake = 2nd class quality.
No. 84. Shiitake * common quality.
No. 85. Shiitake (Yakiko), 2nd class quality.
The above three specimens of Kiboshi are the produce of
Tsuchigoye-mura, Kimizawa-gun, in the prefecture of Shidzuoka.
The average chemical composition of Shiitake is shown in
the following table, (the analyses performed at Agricultural
University).
Water 13.80 | In 100 parts of pure ash.
In 100 parts of dry substance. Potash 55.54
Crude protein 16.45 | Soda fobs
Fat 2.59 | Lime 1.72
Crude fibre 15.77 | Magnesia 6.17
N. free extract 61.55 | Ferric oxide 1.26
Ash 3.65 | Phosphoric acid 19.18
Sulphuric acid. 4.38
Total nitrogen 2.63 | Silica 2.68
Chlorine 1.74
The average market price of Shiitake in Yokohama for the
last six years is shown in the following table.
— 99 —
Hi Kiboshi per Picul. _ _Yakiko per Picul.
(cD i | ta SER ere ae tee eS we oe ee Pee On See Oe Pes ee ee RL daly = Es
Pt Vist Q'lity2nd Q’ity|3rd Q’lity| Ist Q'lity_2na Q ity 3rd Q’litv
§ Yen. Yen. Yen. Yen. Yen. Yen.
1887 75.00 35.00 25.00 30.00 27.00: 24.00
1888 55.00 30.00 2.6.00 30.00 23.00); 20.00
1889 60.00 32.00 24.00 33.00 2.6.00 23.00
1890 60.00 38.00 33.00 42.00 37.00 30.00
189] 65.00 43.00 33.00 46.00 39.00 25.00
1892 1,00) 49.00 33.00 59.00 45.00 33.00
This article has long been exported to foreign countries
having, year after year, a gradual increase both in quantity and
value.. It is most largely exported to China and the export to
other countries is but insignificant. The following tables show
the yearly state of this trade* from 1887 to 1891.
Destination || Quantity of Shiitake exported, in Kin.
of
Export. iss7 | Isss | 1889 | 1890
Hongkong ... —s — — 996,741}1,009,317
NN a ee 1 ,394,954!1,826,681)1,530,609} 701,559} 495,661
U.S. America 96,811) 23,661; 27,910) 32,620} 35,317
Other Cts. *... 837 1,025 ea 5,115 8,952
POCAL oo ces [1,422,602 1,851,367/1,562,454) 1,736,035] 1,548,887
Destination | Value of Shiitake exported, in Yen.
of
Export. 1887 | 1888 | 1889 | 1s90 | 1891
Hongkong ... = a aa 332,569
CORB css 2 433,247} 509,069) 460,155} 235,304
U.S. America 9,332 6,584 8,355} 10,191
Other Cts. ... 219 OG 1,153 1,696
pss) ee 442,799) 515,930) 469,663) 579,760
* Export duty is levied on this article in Japan at the rate of 1.60 Yen per
Picul or 100 Kin.
>
— 100 —
N. P. The figures in columns of 1887 and 1888 include
besides €hiitake, some other kinds of dried fungi, but they are
only very little in quantity and value, not exceeding one-tenth of
those of Shiitake.
Shiitake grows in several trees belonging to the natural
order Cupuliferes such as Quercus cuspidata, Q. dentata, Q.
serrata, Q. Acuta, etc. The method of growing Shiitake on such
trees is as follows :—The trees of about 20 years old are cut down
at the approach of winter and after the lapse of 20 or 80 days
according to the condition of the drying of the wood, are sawn
off into logs of 4 or 5 feet long, and to each of these logs incisions
are made with a hatchet, at intervals of about 6 inches, and
then they are piled regularly upon a frame furnished at a height
of about one foot above the ground under the trees.
The position of the ground selected for piling the logs should
be the slopes of a forest facing to the south-east or south-west.
After keeping the logs as above described for two years, they
are dipped in water for 24Shours in the middle of November, and
again laid one upon another for about four days and if it is a cold
district the heap is covered with straw or mats, and then the
logs rest upside down against poles fixed horizontally to the
trees at a height of about 4 feet, in a well ventilated and sunny
situation under the trees, when Shiitake begins to issue and after
20 or 30 days of its growth, it is ready for harvesting.
XXVIII. MENTHOL CRYSTAL AND PEPPERMINT OIL.
HAKKA-NO AND HAKKA-YU.
Pepper mint or Mentha Arvensis was cultivated from a very
remote age in Japan in the north-eastern part of Japan.
The most famous districts for its large production are in the
prefecture of Yamagata where there is an extensive tract of land
suited for the cultivation of this plant; and nearly all
menthol crystal and peppermint oil exported to foreign count-
ries is supplied from there.
— lol —
The following specimens of menthol crystal and peppermint
oil exhibited are all the produce of Yamagata prefecture.
No. 86.* Menthol crystal, refined.
No. 87. Menthol crystal, common.
No. 88. Peppermint oil, refined.
No. 89. Peppermint oil, common.
Although there is no accurate return of the amount produced
it may be roughly estimated to be over 70,000 Kin including
both menthol crystal and oil.
The annual market prices of menthol crystal and oil in
Yokohama during the years 1887 to 1891 are shown in the
following table:—-
Menthol Crystal per || Peppermint Oil per
ae Kin. | kan.
ear. | .
Common. | Refined. || Common. | Refined.
Yen. Wer. 3) Yen. Yen.
1887 2.70 3.35. || 1.70 a)
1888 2.65 Boke, ail" 1.60 2.10
1889 | 2.50 ee Ln 1.60 2.10
1890 2.00 2.50 | 1.60 2.10
1891 2.00 2.50 | 1.50 2.00
The Quantity and value of the export** in each year from
1887 to 1891 are shown in the following table :—
Menthol Crystal. Peppermint Oil.
Year. oe — —
Quantity in| Value in ||Quantity in| Value in
Kin. Yen. Kin. Yen.
1887 16,931 49,659 || 28.079 39,655
1888 27,219 71,430 || 29,862 42,883
1889 18,221 30,754 || 386,894 46,310
1890 13,910 17,656 31,982 33,102
1891 22,369 25,618 ‘86,423 76,528
* These four kinds are sold by Mr. Nagaoka, at Yokohama.
** No custom duty is imposed on this article.
eo SO
They are most largely exported to England, and United States
of America, Hongkong, Germany and France following in this
order in quantity and value. As regards to the quality of
menthol crystal exported to foreign countries No. 87 takes up
nine-tenths of the total quantity and the remaining one-tenth is
supplied by No. 86 which is exclusively exported to China.
Uses :—Besides being used extensively for various medical
purposes, they are used as ingredients for making some kinds
of confectionary and also for making tooth powder, a few drops
of the oil or a few crystals of the menthol dropped on water is
used for rinsing the mouth. It is also applied for counteracting
nauseous smells in privies etc.
Cultivation :—For growing peppermint which is a peren-
nial plant belonging to the natural order Labiatae, the land is
well prepared in the month of October, and the roots separated
from the stubble are cut to the length of about 3 Sun and planted
in well prepared soil manured with rice bran, rape cake, sake-
kasu, etc. in rows of 2 Shaku apart and distant about 1.5 Shaku
between the plants. In the next spring a dilute ordure is given
when the plants grow vigorously.
The first cutting of the plant is done in the middle of
July, and the second in the middle of September, and sometimes,
but rarely, a third cutting is made in some districts.
The plant reaped is dried under a shed without exposing to
the sun and carefully kept for future distilling.
The best time for distillmg is said to be the middle of
January. ;
The average produce of dried leaves per “'Tan” is 300 to
400 Kwamme, and one Kwamme of dried leaves yield about 8
Momme of “ Hakka.”
BORE | yee
XXIX. CHILLI (CASP/UM LONGUM).
TOGARASHI.
’
Chilli or “ Tdgarashi”’ is cultivated to a more or less ex-
tent, in nearly all provinces of Japan.
The fresh unripe fruit and leaves of certain varieties are
eaten by cooking them with soy, sugar, “ Katsuwobushi,’’* etc.,
but generally speaking, they are either preserved in salt or made
into powder after drying, and are used as spices.
When the dried fruit is placed between or inside of any thing
valuable kept in boxes it protects them from insects.
The specimens of Chilli or Tdgarashi here exhibited are ©
as follows :—
No. 90. Chilli, var. known as 'Takano-tsume ToOgarashi.
We Si» CHT: - |, rs ,, Yatsufusa ‘Togarashi.
No. 92. Chilli,
The above mentioned three varieties are the produce of
Fukakusa-mura, Kai-gun, Kidto-fu.
The variety, heretofore, exported to foreign countries is
principally Takano-tsume; the following shows the annual
quantity and value of the export from 1890-1892.
if i ,, Naga Todgarashi.
Year. Quantity in Ian. Value in Yen. |
Pe ee cea ec |
1890 180,000 6,500 |
1891 260,000 6,400
1892 80,000 3,500
The principal destinations of the export are Germany,
England and India.
The Average market price of Chilli in Yokohama in the
Year 1890-1892 in as follows:—
1890 3.78 Yen per 100 Kin.
1891 2.67
1892 4.34
o>. 9 9 29
me 33 33 +B]
— 104 —
Cultivation : — The seed is sown in seed beds and transplanted
in well cultivated ground in the beginning of May at the rate of
8 or 10 young plants per “ Tsubo ” of land, and when the season
is dry the land is manured with liquid manure so as to keep the
soil not too dry. The time of harvesting commences from the’
. beginning of September and lasts until the beginning of Novem-
ber. The product of fruit much depends upon the variety ;
the variety like Takano-tsum2 yields about 18 Koku per Tan.
XXX. GINGER (Z/NG/BER OFFICINALE).
| SHOGA.
| Ginger or the dried rhizoma of the Zingiber Officinale is
known in commerce under two different names called “ Shyokis ”
and “ Kankid”’ according to the different methods applied in
preparation.
The following specimens of dried ginger are exhibited.
| No. 93. Shyokis, from Nakagami-gun in Shidzuoka pre-
| fecture.
| é a ia ; ; ae
| No. 94. Shyokio, from Wita-Adachi-gun in Saitama pre-
fecture.
No. 95. Shyokis, from Wita-Adachi-gun in Saitama pre-.
fecture.
No. 96. Kankis, from Nakagami-gun in Shidzuoka_pre-
fecture.
No. 97. Kankio, from WKita-Adachi-gun in Saitama pref
fecture.
Ginger is cultivated throughout the Empire, but the chie-
sources of supply for exporting it, either in the raw state or as
i dried ginger are the prefectures of Shidzuoka and Saitama.
i} Cultivation:—In the beginning of May, the roots or
rhizoma of ginger, hitherto carefully stored in under ground
cellars are taken out in the beginning of May, and trans-
— 105 —
planted between rows of growing barley or wheat. ‘The distance
of rows of the cereals sown in Japan being generally about 2.1
Shaku or about 13 inches apart, the roots of ginger are planted
at a distance of from 1 to 1.2 Shaku in the rows and manured with
composts, of rape seed cakes, fish manures, etc.
The shoots of the plant grow rapidly after the harvest
of the cereal crops which is usually preformed in the beginning
of June, and the Ginger roots are fit to be gathered in the middle
of November. :
The average produce of an acre is estimated to be 13,780
Ibs. of raw ginger or 1,655 lbs. of dried ginger or “ Shyokio ” in
the districts of Shidzuoka prefecture.
Preparation :— For preparing the dried ginger or Shyokio in
commerce, the rhizoma are washed, the epidermis scraped off
and then cut into three slices, spread thinly on straw mats
where lime is sprinkled thoroughly covering them with it, in
order to insure a quick and proper drying, and then exposed
to the sun, for from 20 to 80 days until the required dryness is
attained. Shyokid is also prepared by drying with lime without
cutting into slices. 'The process of preparing Kankio is for the
most part, the same with that of Shyokio above described, and
the only difference of the treatment being the former is steamed
before covering the rhizoma with lime.
Uses :— Ginger is extensively used as spice both in the fresh
and dry states. It is largely appropriated for medical purposes.
The rhizoma when procured fresh are pickled in vinegar or
Mumedzu—an acid juice got in salting plums—and form a popular
adjunct to various dishes. The rhizoma washed, scraped, cut
into thin slices and preserved in sugar or syrup, form a very
delicious preserve. They also form many kinds of very agreeable
sweet meat and are used to some extent for flavouring certain
kinds of beverages. .
The average market price of dried ginger at Yokohama in
each year from 1887 to 1891 is shown in the following table :—
=) 808s +
Shyokio, from|Shyoki0, trom|i\ankio,
from|iAianki6, from
Year. Saitama-Ken | Shidzuoka-K. | Saitama-Ken |Shidznoka-K’n
Per Picul. Per -Picul.* Per Picul. Per Picul.
Yen. Yen. Yen.
1887 3.60 3.00 3.10
1888 3.70 3.00 3.10
1889 3.80 3.00 3.20
1890 4.00 3.30 3.50
1891 9.00 4.30 5.00
The following table shows the quantity and value of dried
ginger, principally Shyokis, exported in each year from 1887 to
1891.
Year.
1887
1888
1889
1890 °
1891
Quantity in Kin.*
248,481
302,688
448,961
513,695
905,362
Value in Yen.
7,606
6,050
9,260
7,561
14,881
The quantity of dried ginger exported to various foreign
countries in each year from 1887 to 1891 is shown in the follow-
ine table :—
Pesinntion 1887 1888 1859 L890 189 I
: Kun. Kin. Kin. Kin. Kin.
ia ed aoe 3,186 — —— —
Hongkong - — 22,161 5,499 | 63,845
PTONCE. 150 .. 550 1,942 aoe — —
England ....... 117,938 | 12,546 8,026 | 14,296 | 67,719
Shiga: 206.020. 69,361 | 113,615 | 14,450 | 213,835 | 348,883
GONeA 6c. 20a. 16,841 | 68,540 | 282,424 | 251,679 | 330,623
British Am... — 3,265 | 69,900 | 14,806 —
Germany ...... 5,402 — 3,097 100 ov
Australia. ... 74 ——~ — a —
British India. — — 28,690 1,210 | 61,520
Aastria.cc.. t+. 10,676 | 10,448 |- — — —
FUUSSIA ......-.: 11246 |. 13,062:| 35,213 ) 12.270 |, ‘88273
East India. ...| 16,392 | 188,020 — — —
* Kin — Catty = 160 Momme = 0.601 Kilogramme.
— 107 —
XXX]. PEPPER (PIPER HANCEI).
HIHATSU,
No. 98. Pepper (Hihatsu).
Hihatsu is a perennial plant belonging to the typical order
peperaceze, flowering and bearing fruit from the months of
spring to autumn, in a subtropical climate. It was first
introduced from China, in a very remote age, to the isles of
Okinawa prefecture or Rii-kiu Isles and at present it grows
wild at several places in those isles.
The common method of propagating this plant in Okinawa
prefecture is that, the vines cut into lengths of a few inches and
simply planted along the stone fences which usually sur-
round the dwelling houses, when the plants root out from each
knot after some rain and grow vigorously by climbing up the
fences or twinning up trees. Neither manuring nor any
further cultivation is necessary for growing this plant.
For gathering the fruit, there is no definite time for the
plant flowers and bears fruit nearly all the year round except m
winter as above described, but generally speaking, it takes
place twice a year ; the first in the beginning of summer and the
second in the end of autumn.
When the fruit has nearly matured its hue becomes reddish ;
then it is gathered, steamed and dried in the shade. As it dries,
it changes its colour to black, when it is roasted and powdered,
and used as pepper.
The annual yield of Hihatsu in Okinawa prefecture is
estimated to be about 1,300 Kin. Not a small amount of
Hihatsu is exported to China. Its price per Kin is 10 Sen
at Okinawa. i
— 108 —
XXXII. DRIEDSWEET POTATO § (8TATAS EDULIS).
HOSHI-SATSUMAIMO.
No. 99. Dried sweet potato.
Sweet potato or “ Satsumaimo ’
parts of Japan excepting the north-eastern region and it is
used as usual food by the people of Riu-kiu Isles and some
parts of Kiashi, while in all other places it is largely consumed
as an intermediate food and cooked either by steaming or roast-
ing. Women and children of every rank are especially very
fond of it. Besides, being used as food it is used in various
ways. It is made into starch and it is also dried and preserved
as “dried sweet potato ” a specimen of which is, here, exhibited.
The following table shows the chemical compositions of
three varities of fresh sweet potato (analyses performed at the
Agricultural University Tokio).
’
is cultivated in almost all
(a (b) (c)
‘Water. 64.27 65.56 75:01
In 100 parts of dry matter.
Crude protein. 412 540 5.70
Fat. S00: S206), © a Ail
Crude fibre. 914 3.5% 348
Starch. (B59 * 6EAT
Dextrin and glucose. 6.21 1400 81.27
Other N. free substances. 8.58 4.97)
Ash (free of C. and CO, ) 1.75 -2:30 8.09
Note.—(a) is a late variety with white flesh, (0) is also a late
variety with yellow flesh, and (c) early variety with white flesh.
According to the return furnished in the year 1887 the
total amount produced of the fresh sweet potato is estimated to
be 561,407,587 IXwamie.
The price of dried sweet potato varies greatly according to
the fazility of conveyance from where it is produced. The
— 109 —
following is the price per bag of dried sweet potato at Haibara-
gun in Shidzuoka prefecture where the specimen exhibited is
produced.
Ist Quality per | 2nd Quality per | 4rd Quality per
Year. bag of bag of bag of
9 Kwamme. 7 Kwamme. 6 Kwamme.
Yen. Yen. Yen.
1888 0.85 0.58 0.45
1889 0.90 0.60 0.50
1890 0.90 0.60 0.48
1891 0.90 0.60 0.50
1892 1.00 0.65 0.55
For preparing the dried sweet potato, a certain quantity of
cleanly washed potatoes are placed in a suitable basket and
mmersed in boiling water for a short time and when taken out of
the basket, they are cut into thin slices and spread over mats and
exposed to the sun for two or three days. In order to make a
superior quality, the skin of the potatoes is peeled off before
ithey are cut into slices.
XXXII. SWEET POTATO STARCH.
No. 100. Sweet potato starch.
The starch is prepared from the bulbs of Batatas edulis
and its price is 2.10 Yen per 10 Kwamme in Tokio.
XXXIV. DRIED DAIKON OR DRIED RADISH (RAPHANUS
SATIUS), |
KIRIBOSHI-DAIKON.
Daikon is one of the most important root crops in Japan,
and is cultivated to more or less extent by nearly all farmers
in every part of the Empire, and there are several varities
and subvarieties in cultivation.
It is eaten raw, boiled or pickeled. It is also cut into thin
— lo —
slices and dried for a provision called “ Kiriboshi-daikon.”” Three
specimens of the Kiriboshi-daikon are, here, exhibited.
No. 101. Senkiriboshi, produce of Shimotsu-mura,
Nakajima-gun, Aichi prefecture.
No. 102. Kaikokiriboshi, do.
No. 103. Wariboshi, produce of Shigo-mura, Naka-
jima-gun, Aichi prefecture.
Although Daikon is produced in all districts of the
‘Empire those produced at Aichi and Gifu prefectures where the
Daikon is most abundantly grown are regarded as the best in
~ quality.
The following is the chemical composition of fresh Daikon
before it is prepared as Kiriboshi or dried Daikon (the analyses
performed at The Agricultural University, Tokio).
(a) (2)
Water. 93.45 94.36
In 100 parts of dry matter. ;
Crude protein. 13.39 21.69
Fat. 1.06 1.06
Crude fibre. 11.78 13.63
Starch, dextrin, glucose etc. 44.87 f
Other N. free substances. 9.96 oa
Ash. 6.62 9.18
Total nitrogen. 2.142 3.471
Note.—(a) is a very sweet variety, root cylindrical and (0)
is a common autumn variety, root conical. .
The prices of this produce at Nakajima-gun in the prefecture
of Aichi in each year from 1888 to 1891 are shown in the
following table :—
— lll —
oe Senkiriboshi | Kaikokiriboshi Wariboshi
; Per Picul. Per Picul. Per Picul.
Yen. | Yen. Yen.
1888 1.70 - SBS | Sele
1889 2.00 1.76 6.80
1890 1.90 1.67 6.46
1891 1.20 1.06 4.08
For manufacturing “Senkiriboshi” and “ Kaikokiriboshi ”
well washed Daikon is cut into fine strips say 5 Rin or +, inch
in thickness for the former, and 2 Bu or } inch for the latter
with an instrument called “ Shojiki,” and then they are dried by
exposing to the sun in the cold open air. To make “Wariboshi”’
an straight “ Daikon ” is-selected and after peeling the skin, it is
cut firstly up and down into panes of about 12 Rin or } inch thick ;
then three or four of these panes are piled one upon another, and
cut again vertically into fine strips leaving one or two Sun at one
end and dried by hanging each piece to a stretched rope, and
when sufficiently dried they are taken into the house, and after
the lapse of 10-15 hours when they reabsorb a suitable degree
of moisture, they are then twisted and cut into equal lengths.
XXXV. KONJAK FLOUR.
KONNIAK-KO.
No. 104. Konjak flour.
Konjak flour is prepared from the dried bulbs of Cono-
phallus konjak. It is largely used as an article of food and
also employed for industrial purposes.
When preparing konjak flour for food, 1 “ Sho” or 1.8 litre
of the flour is well mixed with 40-45 litres of water, and about
100 cubic centimetres of caustic lime dissolved in about 3 litres
of water is added to the gelatinous mixture and when the latter
becomes a thick paste, it is poured into flat shallow wooden
moulds, and boiled in water for about 10 minutes. Daring the
— 112 —
boiling the pasty mixture assumes a soft elastic consistency
which is taken out and cooled, and forms what is called “‘ Kon-
niaku.”” or cooking, it is cut into small pieces and boiled with
“soy, soup, mirin, sugar ete.
The fresh bulb of konjak analyzed at The Agricultural
University at Tokio gave the following percentage composition.
Water. 91.76
In 100 parts of dry matter.
Crude protein. 12.50
Fat. 0.96
Fibre. 3.67
Nitrogen free extract. 78.43
Ash. 4.42
Konniaku sold in shops and ready for cooking contains the
following composition (analyzed at The Sanitary Hxperiment
Station).
Water. 96.15
Albuminous matter. 0.01
Fat. —-
Fibre. 0.26
Nitrogen free extract. 3.10
Ash. 0.48
For industrial purposes it is used as an excellent sizing, rich
in fine lustre, and when the paste made of the flour is brushed on
Japanese paper, it forms a leather-like substance giving it both
water and air-tight qualities.
The following specimens here exhibited are made of Japan-
ese paper smeared with konjak paste.
(a) Konjak paper.
(6) Imitated bladder.
(c) Pillow made of konjak paper.
(dq) Cushion ,, ,, + re
For preparing konjak paste, for making above mentioned
— 1138 —
specimens | part of flour is well mixed with 10 parts of water
and heated.
For manufacturing konjak flour, after the outer skin of the
bulb is cleaned off, 1t is cut into thin pieces of about 1 inch, dried
for about seven days by exposing them to the sun; and then
powdered by pounding in a mortar by means of a water mill,
specially constructed so as to fan off the lighter parts of the
powder, leaving only the heavier portion.
One hundred Kwamme of good fresh bulbs produces about
seventeen Kwamme of flour of the best quality.
The average market price of konjak powder per 45 Kwamme
in TOdkid in the year 1891-1892 is as follows :—
| First Quality. Second Quality. Third Quality.
1891 46.41 Yen 44.83 Yen 42.91 Yen
1892 9 06 38:50, 37.40 ,,
For cultivating konjak land well drained and sloping is
selected. Atthe end of April or in the beginning of May the
seed bulb is planted at the rate of 180-190 Kwamme per Tan.
and at the same time farm yard manure, rice bran etc., are
applied and the land is covered with straw or grasses.
The time of harvesting the bulb is in the middle of October
or the beginning of November of the third year after planting
when some bulbs weigh more than 3 Kin. The average produce
per Tan is 1,000 Kwammie.
XXXVI. KAMPIO (LAGENARIA VULGARIS),
No. 105. Kampio.
Kampi0 is the stripped and dried flesh of the fruit of a kind
of guord, called “ Yugawo” Lagenaria Vulgaris. It is used as
an article of food by boiling with water, soy, sugar, mirin ete.
It can be preserved for a long period, if kept in proper
vessels and closed tightly. ‘Che Analysis of “ Kampio” made
mY aero
by The Sanitary Experimental Laboratory gave the following
result.
Water. 20.39
Crude protein. 8.382
Fat. 1.54
Glucose. 20.08
Dextrin. 15.41
Starch and other N. Free Ext. 18.69
Crude fibre. 10.69
Ash. 4,92,
Kampio is cultivated in nearly all parts of Japan, but the
most famous districts for its production are in the province of
Shimotsuke.
There is no accurate return of the amount produced, but it
is roughly estimated to be more than 400,000 Kwamme or
1,500,000 Kilograms.
The market price of “ Kampid” fluctuates more or less
according to the fertility or unfertility of the year; the average
of the last 10 years in the town of Tochigi, the most celebrated
place for its abundant produce and good quality, was 5 Yen per
10 Kwamme. In the cheapest time, the price comes down as low
as 4.3 Yen, while sometimes it reaches as much as 7 Yen per LO
Kwamme.
Kampio is exclusively exported to China.
Cultivation :—The seed is sown in a hot seed bed in the
beginning of April and transplanted in well prepared and highly
manured ground in the beginning of May and harvested in the
month of July. The common manures used for its cultivation
are fish manure, rice bran, rape seed cake, composts and farm
yard manures.
XXXVII. WINE.
No. 106. Wine.
It was very recently that wine making was introduced
pes ee
into Japan, so that the quantity of wine produced is not a large
amount.
The specimens of wine here exhibited are of two kinds and
both of them are made and sold by Mr. Miyazaki Mitsutaro of
Iwai-mura, Higashi Yatsushiro-gun in Yamanashi prefecture.
(a) White wine.
(0) Red wine.
Of above two specimens, the white wine is made from the
variety of grapes called “ Koshu-budo, ”’ indigenous to Japan and
used especially for medical purposes, while the red wine is made
of the varieties of grapes introduced from France and employed
for table use.
The percentage of the chemical composition of above: two
kinds of wine analyzed by Dr. N. Nagai is shown in the following
table.
White Wine. Red Wine.
Specific gravity. 0.995 0.995
Alcohol. 9.850 9.850
Extract matters. 2.940 2,240
Grape sugar. 1.726 1.150
Tartaric acid. 0.392 0.424
Volatile acid. 0.272 0.286
Glycerine. 0.329 0.420
Ash. 0.136 0.140
The price of above two kinds of wine is 3.50 Yen each per
dozen flasks in Tokio.
a
J
No. 1152. EXTRAORDINARY GOLD LACQUER CABINET.
(9% feet high.)
CATALOGUE
AN IMPORTANT COLLECTION
OF
JAPANESE AND .CHINESE
PORCELAINS, BRONZES, ENAMELS, LACQUERS,
IVORY CARVINGS, SWORDS, SWORD GUARDS,
CABINET SPECIMENS, EMBROIDERIES, SCREENS,
BYG;} ETC:
Sree hip - BY WER, Pe (EAN
OF
Messrs. DEAKIN BROTHERS & CO.
FORMERLY OF
YOKOHAMA, JAPAN, AND SAN FRANCISCO
TO BE SOLD BY AUCTION, WITHOUT RESERVE
On MonDay, FEBRUARY 13TH, AND FOLLOWING Days
AT 3 AND 8 O’CLOCK P.M. EACH DAY
AL DAVIS “& HARVEY'S . GALLERIES
1212 CHESTNUT STREET
WHERE THE COLLECTION IS NOW ON EXHIBITION
DAY AND EVENING
MESSRS. DAVIS & HARVEY, AUCTIONEERS
PHILADELPHIA
1893
TERMS AND CONDITIONS OF SALE
Bills payable in CASH before delivery.
Every article embraced in the Catalogue will be sold to the
highest bidder without limit.
If any disputes arise between two or more bidders, the lot
so in dispute shall immediately be put up again and re-sold.
The sale of any article is not to be set aside on account of
any inaccuracies of description in the Catalogue; all articles
are exposed for public exhibition, and are sold just AS THEY
ARE, without recourse.
To prevent errors in delivery, no lot can on any account
be removed without presentation of the bill, and nothing will
be delivered during the sale.
All bills must be paid, and purchases removed at the
expense of the buyer, within twenty-four hours after the con-
clusion of the sale.
No article will oe EXCHANGED or taken back under any
circumstances whatever.
We will’ not be responsible for goods damaged in
delivering.
Goods carefully packed and shipped.
Ladies and gentlemen unable to attend the sale can have
their orders for buying executed by us without extra charge.
DAVIS & HARVEY, AucrTIONEERS
1212 Chestnut Street, Philadelphia
NOTE.
Upon the occasion of Mr. Deakin’s first Public Sale, which was
held at the American Art Galleries, New York, January, 1892, Sir
Edwin Arnold wrote the following Prefatory Note. As a number
of the important objects mentioned are included in this sale, and
the class of goods similar to those commended, the remarks are
applicable to the present collection.
*‘T had the pleasure and advantage, while in New York, of in-
specting this beautiful and typical collection of Japanese objects
of Art brought together in the show-room of my friend, Mr.
Deakin. In the departments of skilled production which they
represent, nothing could be more excellent, or more worthy to
exemplify the artistic genius of ‘Dai Nippon.’ Among many
charming and precious things which I examined in the collection,
I especially recall the two large pieces of bronze, of noble dimen-
sions and superb boldness of design, which in color, finish, and
easy mastery of the metal, as well as in elaborateness of conception,
seemed to deserve places of honor in the mansion of any true and
wealthy lover of Art. There was, moreover, a gold lacquer cabi-
net, of imperial size, fashioned after the pattern of one in the
temples at Nikko, which is the very finest specimen of that rich
labor, with one exception, that ever came under my notice.
6 NOTE.
Apart from the faultlessly perfect toil exhibited in this majestic
piece, alike in the enseméle and in the minutest details, there was
in it the true Japanese spirit, which sacrifices everything to its
artistic ideal of fitness and fidelity, so that in some concealed por-
tions of the work might be discovered a freer use of gold in little
solid specks and nuggets than on the surfaces which most solicited
attention. I saw also, with delight, two gold lacquer boxes, of
the antique perfection and sober beauty, which were, of their
kind, unsurpassed ; and some Namikawa enamels of lovely tints
and delicate execution, particularly a small blue tray with goldfish,
which could not surely be surpassed by any old or new master.
Altogether, I consider the Deakin Collection one in the highest
degree creditable to the judgment and taste of its owners, and con-
taining, alike in its largest and smallest items, examples of Japan-
ese Art, desirable to possess, and of a character to pass the ordeal
of the severest critic’s examination, while their intrinsic beauty
must recommend them to the ordinary connoisseur and to the
appreciative public.
“EDWIN ARNOLD.”
U1
II
12
CATALOGUE.
FIRST AFTERNOON’S SALE.
Pair Taizan vases, pilgrim bottle shape, red ground, with
floral decoration.
Pair vases, globular bottle shape, salmon ground, vine
decoration. Signed Taizan.
Pair Taizan vases, neat bottle shape, yellow ground,
with floral vine and other decoration.
Pair vases, bottle shape, semi-eggshell texture ; decorated
with birds on branch of cherry-tree. Signed Mat-
suishiya.
Teapot, fine blue and white. By Gosuki.
Perfume burner, shape of Daimio hat, blue and white
decoration, open-work cover.
Perfume burner, globular shape, blue decoration, lace-
work panels and cover.
Pair vases, globular bottle shape, semi-eggshell porce-
lain; finely decorated with winter landscape. By
Matsuishiya.
Pair saki bottles, gourd design, rich brown glaze.
Pair white porcelain ornaments: cow in repose.
Saki kettle, gourd design, fine quality porcelain and blue
decorations.
White Shirato porcelain group: Daimio and wife.
THE H. DEAKIN COLLECTION.
PORCELAINS BY THE CELEBRATED JAPANESE
POTTER MAKUZU.
13 Teapot, light green glaze, with decoration of hydrangea
14
15
16
17
18
19
20
21
22
23
24
25
and butterfly.
Vase, bottle shape, with slender neck; fine quality
peach-blow glaze, showing crackle beneath glaze.
Vase, beaker shape, clear white texture, with branch of
plum-blossoms in sepia.
Vase, bottle shape, clouded green glaze, with decoration
of boldly drawn dragon.
Vase, pear shape, glazed in imitation of malachite.
Vase, bottle shape, sang-de-beuf glaze, with verdigris
effects at shoulder.
Bottle vase, clear white texture with bold decoration of
dragon ; blue band at neck.
Vase, bottle shape, “ rosy dawn” glaze, decorated with
grotesque figures of skeletons.
Vase, choice bottle shape, fine texture, decorated with
basket design and vines.
Teapot, fine clear texture, engraved and enamelled orna-
mentation: fishes and water design.
Bottle vase, glaze in imitation /apzs lazulz.
r
Vase, gourd design, fine blue decoration; ‘‘ hawthorn
pattern, after old Chinese.
Large jar, pear shape, with wide flaring mouth, rich
coral-red glaze, with finely painted floral decoration
beneath basket-work design.
FIRST AFTERNOON’S SALE. 9
26
32
33
34
35
36
Large vase, graceful bottle shape, with flaring base and
neck, fine clear white texture, artistically decorated
with dragon crest and other designs in deep blue.
Small vase, bottle shape, scroll design beneath peach-
blow glaze.
Vase, cylindrical shape, clear white texture, with dragon
and lizards in blue and brown enamel.
Vase, beaker shape, decorated with plum-tree in blos-
som in sepia red, fine quality paste.
Bottle, finely decorated with “hawthorn” pattern,
after old Chinese, choice quality.
Large vase, cylindrical shape with bulging body, finely
decorated with bird of immortality, dragon, and
clouds in deep blue and peach-blow tint.
Vase, ovoid bottle shape, with square neck; fine coral-
red glaze, with decoration of shi-shi in brown.
Large vase, ovoid shape, tall slender neck, finely deco-
rated in floral fruit and symbolical designs in dleu-de
Nankin ; lemon yellow scroll ground.
Pair bottle-shape vases, rich jet black enamel, with artis-
tically drawn dragons in emerald green and red.
Pair vases straight shape, tapering at neck and base,
decoration of cherry-blossom and birds on body, color
shading from pale green to salmon pink.
Pair vases, Greek shape, rich emerald green gold stone
enamel, with decoration of dragon, clouds, and other
designs in brilliant enamels.
2
THE H. DEAKIN COLLECTION.
37
38
39
40
41
42
43
44
45
40
47
48
49
50
Pair vases, ovoid shape; delicate blue enamel, with iris,
water lilies, and butterfly in finely combined colors
and silver wires.
Pair small vases, black enamel, with archaic and other
designs in gold stone and other enamels, and intri-
cate wire work.
Pair small vases, ovoid shape, emerald green gold stone
enamel, with butterflies in natural colors.
Enamel perfume box, ruby gold stone ground, with
cherry-blossom decoration; choice specimen of intri-
cate workmanship.
Antique Japanese wall clock, brass dial.
Antique Japanese wall clock.
Japanese clock, very fine movement.
Antique Japanese marine clock; rare specimen.
Antique Japanese watch, fine movement, old enamel
netsuke and metal-work slide.
Antique shrine, black and gold lacquer, with finely carved
wooden figure of Buddha.
Antique shrine, black and gold lacquer, with intricately
carved wooden figures of Buddha and attendants.
Black lacquer shrine, with brass mountings; finely carved
ivory and wood figures.
Antique shrine, black and gold lacquer, with silver fig-
ures.
Large shrine, temple shape; red, black, and gold lac-
quer.
FIRST AFTERNOON’ S SALE. ne
51
52
aS
54
55
56
57
58
59
60
61
62
63
Antique bronze incense burner. Shi-shi.
Antique bronze turtle, by Saymin.
Old bronze figure: God of Plenty.
Antique bronze figure: Kitai, the famous Japanese pot-
ter.
Very old Japanese bronze figure: Buddha.
Antique Chinese bronze sacrificial vessel, helmet shape.
Pair Japanese bronze vases; rich brown patina, showing
effects of red lacquer mixed with molten bronze.
Finely wrought Japanese bronze. group: “Imps of
Saki,” with jar.
Superb specimen of enamel, globular shape jar, in imi-
tation of grains of wood, with chrysanthemum flow-
ers in delicate colors, and alternate panels in black-
gray seiji and peach-color enamel, ornamented with
exquisitely wrought floral designs and birds. By
Morimoto of Nagoya.
Pair elegant enamel vases, by Yamamoto of Nagoya;
rich turquoise blue ground, with plum-blossoms and
birds in finely combined enamels.
Vase, gourd design, crackle texture, dragon crest in blue
beneath glaze, and scroll and other design in brown
red, green, and other enamels, by Makuzu.
Vase, bottle shape, iron rust glaze, with incised dragon.
By Makuzu.
Vase, pear shape, with flaring neck; lemon yellow elaze,
with shi-shi in brown. By Makuzu.
12
THE H. DEAKIN COLLECTION.
64
75
Pair handsome vases, fine texture, and artistic decora-
tion of spring and autumn foliage, flying birds,
mountain scenery, etc.; exhibition specimen, by Mat-
suishiya, from Fine Art Exhibition, Uyeno.
Old Nabashima porcelain plates, decorated with gourd
and other designs in blue, green, red, and other
enamels. 10 pieces.
Nabashima porcelain fruit dish, seiji and blue decoration.
Nabishama fruit dish, floral and other decoration, in red,
blue, and green.
Old Imari rice jar, decorated in deep blue; lacquer
cover. :
Old Imari condiment dish with cover, fine blue decora-
tion.
Old Hirado saki bottle, choice quality, finely decorated
in two shades of blue.
Old Imari dishes, richly decorated in blue and brilliant
colors. 5 pieces.
Old Imari saki kettle, decorated in deep blue.
Rice jar, by Seyfu, clear white texture, with finely painted
decoration of fish and sea-weeds in fine enamels;
lacquer cover.
Old Imari sweetmeat box, hexagonal shape, two com-
partments, fine blue decoration.
Old Imari rice jar, decorated in deep blue.
FIRST AFTERNOON’S SALE. 13
MASTERPIECES IN ENAMEL.
BY NAMIKAWA SOSUKE, TOKYO.
Among Japanese en-
amellers Namikawa, of
Tokyo, is pre-eminent.
Indeed, in his own field
he has no world left to
conquer. He has been
decorated at the Mika-
do’s hand; he has done
all the enamelling about
the royal palace, and won
always the highest prizes
at the various Fine Art
Exhibitions throughout
the world. In this col-
lection the great artist is
represented by examples
of his best work.
NAMIKAWA SOSUKE.
76 Superb enamel tray by Namikawa Sosuke, heart-shape,
two doves on salmon pink ground, gold rim and
mosaic back; signed specimen.
77 Superb enamel plaque by Namikawa Sosuke; design,
sparrows huddled in the snow under narcissus flowers
and leaves. Ground claret, gray, and white; an ex-
hibition piece, finished with shakudo rim. Signed
specimen.
THE H. DEAKIN COLLECTION.
78
79
80
8I
82
83
84
85
86
87
88
89
go
Souvenir album of Japan, containing 50 fine photo-
graphs of landscape, figure subjects, views of historical
buildings, tombs, and celebrated places, all exquisitely
colored by native artists, handsomely bound in rich
Japanese brocade ; has fine fabric case and an extra
tin case.
Porcelain panel, exquisitely painted; design, storks in the
moonlight. Signed Showun.
Porcelain panel, painted; design, bird perched in branches
of tree. Signed Showun.
Large glass bead lantern, with delicately painted glass
panels.
Another, similar to above.
Bronze prayer gong and frame, two hundred years old.
Set of carved-wood figures from an old Buddhist tem-
ple. Amidu Daibutzu, and two Kawnon Buddhas,
finely carved and lacquered in gold. Height of large
figure, 54 feet ; smaller ones, 34 feet.
Bronze mirror, case, and stand.
A collection of fac-similes of all coins made in Japan up
to 1850. (See Special Catalogue.)
Wood carving: figure of devil.
Antique Japanese clock and teak-wood stand, two hun-
dred years old.
Decorative cut velvet panel, design of palm and birds,
boldly painted. By Nishimura, Kyoto. 27 inches
square.
Cut velvet panel. Design, fish, water, and sea grasses.
By Nishimura, Kyoto.
FIRST AFTERNOON’S SALE. 15
91 Cut velvet panel. Design, ducks, water, and grasses.
By Nishimura, Kyoto.
92 Cut velvet panel. Design, willow-tree and fire-flies,
By Nishimura, Kyoto.
93 Cut velvet panel. Design, bamboo and sparrows. By
Nishimura, Kyoto.
94 Cut velvet panel. Design, fish, water, and grasses. By
Nishimura, Kyoto.
95 Cut velvet kakemono, copied from an old kakemono;
design, a village peeping out of mist, with water, sail-
boats, and the sacred mountain Fuji San, behind it;
color tone, cloud gray, olive, water blue, smoke eray,
brown, and black; brocade mounting. By Nishi-
mura, Kyoto.
TEMPLE HANGINGS.
96jTemple tapestry, 5 x 7 feet. Ground, gray silk needle-
work. Embroidered design, parrot and dog, table
with basket of flowers and Mikado’s crest at top.
Has border embroidered with Mikado’s crest in gold
thread and white silk.
97 Temple hanging: dark blue satin, with winged dragon
en rampant, embroidered in gold and various silks.
Has brocade border. 5 x 7 feet.
98 Palace hanging; floral and bird design, beautifully em-
broidered in silk of soft subdued colors ; has brown
brocade border. 96 x 78 inches.
99 Rich temple hanging; needlework ground, with em-
broidered storks, birds, flowers, and crests of the im-
perial family, also the Mikado’s private crest; blue
brocade border. 108 x 60 inches.
‘THE H. DEAKIN COLLECTION.
100 Elaborate temple hanging; surface entirely covered by
needlework figures of famous warriors, bold ‘drag- 7
ons, water, and clouds in gold thread and ote.
Size, 96 x 60 inches.
‘tot Pair rich red enamel vases, of graceful shape. Design, —
; grapevines, chrysanthemums, and birds in brilliant ut
enamels. pieiehe, 47 inches. .
FIRST EVENING’S SALE.
102 Pair vases, bottle shape, slender neck, floral decoration
on blue ground. By Matsuishiya.
103 Two vases, blue and white porcelain; fine texture. By
Seyfu.
104 Two vases, blue and white porcelain ; very fine texture.
By Seyfu.
105 Hirado incense burner, carved and lace-work panel and
cover; scroll decoration in blue under-glaze. By
Takahashi.
106 Another, in form of Daimio’s hat.
107 Tall bowl and cover, decoration of iris and sepia red
and blue under glaze. By Seyfu.
108 Vase, cylindrical shape, decoration of carved peonies
- and shi-shi leaves of rich green enamel on ivory
white ground. Exposition piece. Signed Seyfu.
109 Vase, ovoid shape, cloudings of peach-blow under
glaze. By Inouye, Tokyo.
110 Flower vase, in form of bird ; decorated archaic border,
and floral decoration in various colors of enamel on
light turquoise-blue ground. By Taizan.
111 Flower bucket, flower decoration, with sepia cloudings
under glaze. By Inouye. ~
3
18
teke2
113
114
115
116
117
118
11g
120
E21
122
THE H. DEAKIN COLLECTION.
Vase, by Kato, Chinese shape, soft sage-color glaze,
with decoration of lotus-leaf in white and blue; has
carved white band around the body. Signed by
artist.
Porcelain rose jar and cover, decoration under glaze of
fish and sea-weed in blue, red, and green enamels.
Exposition piece of Tokio, 1892. Signed Seyfu.
Bowl, coral-red glaze. By Seyfu. Exposition piece,
1892.
Pair porcelain bowls, rich blue glaze, with silver deco-
ration on the outside; on inner surface are dragon
designs in red enamel medallions and temple-cords
and ornaments. Signed by Seyfu. Exposition
pieces, 1892.
Porcelain bowl, outer surface of coral-red, border in
gold; inner surface decorated with dragon, and
inner border in fine green enamels. Signed Seyfu.
Exposition piece, 1892.
Pair Kaga porcelain vases, representing bundles of
bamboo; rich decoration in red and gold. Made by
Matsuishiya.
Vase, bottle shape, red, with mottled green glaze. By
Makuzu.
Vase, slender neck, “rosy dawn,” with decoration of
cherry-blossom. By Makuzu.
Vase, with red and pale green mottling. By Makuzu.
Vase, ovoid shape, decoration of dragon at base of
neck, under stone blue glaze. By Makuzu.
Vase, design of Japanese drum; rose pink glaze, with
decoration of skeletons beneath. By Makuzu.
—e
133
134
135
FIRST EVENING’S SALE. fe)
Vase, red, gray, and green mottled glaze. By Makuzu,
Vase, blue and white mottled glaze. By Makuzu.
Porcelain vase, peach-tint glaze, blossom decoration.
Signed by Makuzu.
Porcelain vase, by Makuzu; green and white mottled
glaze. Signed by artist.
Vase, design of plum-blossom floating on ice. By
Makuzu.
Vase, ovoid shape, flaring neck; landscape decoration
in sepia under glaze; fine texture. Signed by Makuzu.
Vase, bottle shape, decoration of clouds in red, and
birds of immortality in seiji, under light green glaze.
By Makuzu. Signed.
Vase, bottle shape, flaring neck; liver-color glaze, with
cloudings of light green at foot. By Makuzu. Ex-
hibition specimen from Uyeno.
Vase, pear shape, flaring neck ; mottled gray glaze, with
decoration of snow-laden plum-tree by moonlight.
By Makuzu, from Uyeno Fine Art Exhibition.
Gourd-shape vase. By Makuzu. Rich blue glaze,
plum-tree in blossom in white reserve, after old
Chinese “ hawthorn.”
Vase, ovoid shape, with tall neck, flaring at mouth,
mottled red and brown glaze, with decoration of
dragon in subdued colors.
Large vase, pear shape, with flaring neck; lemon yellow
glaze of fine even quality, branch of pomegranates
and blossoms in deep blue.
Vase, pear shape, with flaring neck; finely decorated
in deep blue with ceremonial scene, foliage, and orna-
ments in deep brown.
+]
20
LEE PL DEABRLIV “COLLHCPLON.
149
150
Large lacquer shrine; image of Daibutzu; heavy gold
gilt. Genuine old piece.
Black lacquer shrine; has bronze figures of Fudo, God
of Fire, and two attendants.
Old black lacquer shrine; inside finished in gold
lacquer ; carved-wood image of Jizo, God of Children.
Black lacquer shrine; carved-wood figure of Mari-
sheteu, God of War.
Old black lacquer shrine; carved-wood figures of high
priests.
Large antique wall clock; indicator in Japanese and
English characters. Two hundred years old.
Another.
Clock, square, in wood case. Two hundred years old.
Antique Japanese watch. Two hundred years old.
Antique Japanese marine timepiece. Two hundred
years old.
Shiriki (Japanese musical instrument), with Toku-
gawa's crest in gold lacquer, and silver trimmings.
Old bamboo flute.
Pair red enamel vases; exceedingly brilliant decora-
tion of dragon and clouds in deeper red; fine border
patterns around neck and base.
Pair vases, black gold stone enamel, with dragon de-
signs in medallions, worked in various colors of
enamels. By Suzuki.
Pair enamel vases, gray blue, with pine-tree covered
with snow and black crow perched on branch. By
Yamada, Nagoya.
FIRST EVENING’S SALE. 21
151 Pair vases, shaded blue enamel; decoration of cherry-
blossoms and birds. By Morimoto, Nagoya.
152 Pair enamel vases, tall ovoid shape, with cherry-blos-
soms and birds in natural colors and silver wires;
fine specimens of Morimoto.
153 Pair enamel vases, bottle shape, scalloped panels
around the body; decorated with dragon and Ho-o
bird designs, upper part of body and neck covered
by bands of exquisite wire work. By Honda,
Nagoya.
154 Enamel incense box, rich red enamel, ornamented
with scalloped border patterns, cover decorated with
elaborate design of Ho-o bird in very fine wire work.
By Suzuki, Kyoto.
155 Black enamel incense burner cover; has medallion of
green gold-stone, ornamented with dragon crests,
sides of box decorated with small medallions.
156 Enamel koro, hexagonal shape, blue enamel panels,
with Ho-o birds, and red borders with floral designs.
157 Enamel koro, diamond shape, exceedingly fine work,
in red and yellow enamels; in panels are the Ho-o
bird, dragon, and chrysanthemums in various enamels.
By Suzuki, Kyoto; has teak-wood stand.
158 Enamel koro, globular shape, with round flat top,
ending in ball; decoration very rich, ground color of
lower half light brown, with alternate shield-shape
panels of darker brown and old gold, upon which
appear griffins, dragons, and fabled serpent, in red,
brown, green, and gold ; between the panels, borders
of chrysanthemums in brown and green; above the
panels comes a bright band with overlay of gold, and
flower and wheel decoration; conventional orna-
mentation about the mouth, with band of green and
gold above it, which is repeated on the rim of the
22 THE H. DEAKIN COLLECTION.
cover; ground of cover, light brown, with scroll
pattern of gold wire all over it. It is further orna~-
mented with a Daimio’s crest, incised through the
No. 158.
metal, as well as enamelled in white upon a black
sround of green leaves and crimson scroll-work.
By Honda, Nagoya; has teak-wood stand.
159 Large Satsuma vase, body in form of lotus-bud, flaring
neck, panels surrounding the body in blue enamel,
and decorated with plum-blossoms in red and gold.
160 Porcelain vase, decorated with clouds and ‘“shi-shi”’ ;
Sacred Lion and banners, in red and green, after the
old Chinese.
“aHMNSOS ‘VMVHINVN Ad ‘SHNOVIGd TAWVNE
‘ZQOf ‘ON ‘Pol ‘ON
161
162
163
164
165
166
167
168
170
17]
172
FIRST EVENING’S SALE, 23
Large jar, pear shape, with wide flaring mouth, rich
coral-red glaze, with finely painted floral decoration
beneath basket-work design.
Souvenir album of Japan; contains 50 fine photographs
of landscapes, figure subjects, views of historical
buildings, tombs, and celebrated places, all exqui-
sitely colored by native artists; has fine fabric case,
and an extra tin case.
Round enamel tray, with scalloped edges, finished in
shakudo; ground color, gray. Design, white paroquet
perched on plum-bough with a bare suspicion of
blossom. Signed Namikawa Sosuke, Tokyo.
Round enamel tray, with scalloped edges finished in
shakudo; ground color of gray. Design of white
‘crane perched on willow-tree. Signed Namikawa
Sosuke, Tokyo.
Small enamel box, oval shape, light yellow ground,
with flowers and butterflies in various colors of enam-
els. By Namikawa Sosuke. Signed.
Small enamel box, square shape, light green ground,
with chrysanthemum and butterfly decoration in
various enamels. By Namikawa Sosuke. Signed.
Porcelain panel; crows on branch of tree in moonlight.
Signed by artist Showun.
Porcelain panel; cranes in flight and on branch of
willow-tree. By artist Showun.
Old Imari rice jar; figure decoration in blue; has black
lacquer cover.
Old Imari saki bottle; blue and white decoration.
Old Imari saki bottle ; blue and white decoration.
24.
186
188
THE H. DEAKIN COLLECTION.
Bishu cake dish; oblong, shape, carved open-work
- body and cover; blue decoration under glaze.
Teapot; blue and white decoration.
Nabashima seiji saki bottle; carved decoration under
the glaze.
Bishu brush-holder; open-work panels, with decora-
tions of fan panels i in blue under the glaze.
Pair Idzuma vases, fine crackle beneath glaze, and
decoration of horse, with black cloudings.
Kutania ‘saki bottle; decoration figure subject in red
and gold on panels. Old specimen.
Fire bowls, floral and other designs in various colors
of enamel under the glaze.
Ten shell-shape dishes, Makuzu rsa chrysanthe-
mum decoration.
Old saki bottle, Nabashima seiji.
Pair bronze vases, ornamentation of wistaria vine,
finely carved and ‘inlaid blossoms in silver made by
Jomio, Kyoto. Signed.
Bronze incense box, design of chestnut. Signed Kiho.
Bronze turtle, carved by Suzuki-chokichi,
of Tokyo.
Copper incense burner.
Bronze Buddha.
Bronze shrine, gold plated, engraved with
Tycoon’s crests and vine designs; ex-
guisitely wrought gold figure of God of
War.
Pair miniature swords, solid silver mount-
ings and ornaments.
FIRST EVENING’S SALE. 25
189 Miniature suit of Japanese armor, of fine workmanship
and perfect condition.
190 Japanese short sword, heavy blade, carved-wood hilt
and scabbard and bronze ornaments.
Ig1 Japanese short sword, keen blade, hilt of shark skin
wound with silk, black lacquer scabbard inlaid with
old coins, shakudo tsuba, and mounts inlaid with
gold.
I92 Japanese short sword, carved-wood scabbard, white
metal trimmings.
193 Japanese short sword, sheath and handle in form of
dragon.
194 Japanese short sword, carved heavy blade, wood scab-
bard and hilt, lacquered in red and green.
195 Japanese short sword, scabbard and hilt covered with
snake skin, white metal trimmings.
196 Japanese short sword, dragon carved in blade, hilt of
shark skin, lacquered scabbard, iron trimmings, gold
ornamentation.
197 Japanese short sword, copper-lacquered scabbard and
hilt, bronze trimmings.
Ig8 Japanese short sword, lac juered sheath, iron hilt orna-
mented with gold, bronze trimmings.
199 Japanese short sword, carved-wood sheath and hilt;
dragon-flies inlaid with mother- of-pearl and tortoise-
shell,
200 Temple hanging, grounded, shaded in brown: subject,
Japanese legend, dragons, richly costumed figures,
temple, drum, and other designs embroidered in gold
thread and bright silk; has syunceus: border 66 x 84
inches.
4
26 THE H. DEAKIN COLLECTION.
201 Temple hanging, needlework: subject, bold dragons,
Ho-o birds, and golden sun in bright silks and gold
threads; dark-blue brocade border. 90 inches by 60
inches. :
202 Elaborate temple hanging: subject, Goddess Benten
and heavenly child playing on musical instruments,
while floating in the clouds; water scene with storks
and lotus-plants in foreground, all finely embroidered
with richly combined silks and gold thread ; has bro-
cade border. 96 x 170 inches. .
203 Temple hanging, ground of needlework; subject, Jap-
anese legend. Chinese sage on back of stork, sacred
turtle at the lower corner; has brocade border. 54
x 96 inches.
204 Temple hanging, gray ground, with boldly drawn drag-
ons, clouds, and water, all of needlework in subdued
colors of silk, relieved by golden thread brocade
border. 74 x 54 inches.
205 Pair enamel vases, bottle or jar-shaped shakudo rims ;
-17 inches high, with teak-wood stands; the ground
color truthfully represents a blue sky paling to gray,
above mounds and hillocks of snow; decoration
peculiarly spirited: cocks and hens—the garden birds
of Japan—perfect in comb and feather, under snow-
laden bamboos, evidently amazed at the white vis-
itor, but by no means cast down. Signed by Nami-
kawa, and among his very best work. ;
206 Mammoth bronze incense-burner, 15 feet high, made
by Suzuki, from the Tokyo Exhibition, a marvel of
graceful lines. From a rounded base, upon low ball
feet, and very richly ornamented with the heads of
monsters, conventionalized, three pillars arise, sup-
porting an urn of fine proportions. From its top
springs a straight stem, about which winged dragons
—
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FIRST EVENING’S SALE. 27
wreathe and coil, making in their convolutions an
ideal setting for the cluster of six burners (adapted
for electric lights). The
urn has two handles of
winged griffins, very
boldly rendered. All the
surface of it is covered
with figures in relief—
dragons, peacocks, birds
of paradise, fiery mon-
sters breathing out
smoke and flame. Below
it,a bracket, between the
three pillars, supports a
small vase for incense
burning. Rings in the
pillars’ outer surface have
chains festooned from
one to the other, with
three richly wrought pen-
dants dropping from
each festoon. The pil-
lars are so sparingly or-
namented as to give a
light, springing effect.
In the space between
them, at the base, a pea-
cock stands looking over
his shoulder at the long
tail behind him, in which
his meek mate seems
trying to hide her crested
head. Altogether, a most
striking piece for either
lawn, park, or country-
house ornamentation. | No. 206.
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243
214
215
216
287
SECOND AFTERNOON’S SALE.
Small coupe, sang-de-beuf glaze. By Makuzu.
Bottle, low form, ice and plum-blossom design on red
glaze. By Makuzu.
Coupe, wave decoration on ground of red, verging into
green. By Makuzu.
Coupe, mottled red and green glaze. By Makuzu.
Bottle, low form, red glaze, verging into green. By
Makuzu.
Bottle-shape vase, red glaze, with mottling of green.
By Makuzu. ;
Vase, bottle shape, red and green mottling. By Ma-
kuzu.
Teapot, yellow glaze, decoration of butterflies and
hydrangea in natural colors. By Makuzu.
Vase, bottle shape, body decorated with plum-blos-
soms in sepia on white ; bands of deep blue at base
and neck. Signed by artist Makuzu.
Vase, bottle shape, ‘‘ shades of evening” decoration of
dragon at neck. Signed by artist Makuzu.
Vase, low form, dragon decoration under liver-color
glaze. Signed by artist Makuzu.
Vase, bottle shape, “ shades of evening,” with dragon
carved in bold relief at neck. Signed by Makuzu.
SECOND AFTERNOON’S SALE. 29
218
219
220
221
Vga)
223
224
Vase, lotus-bud design, body panels of red glaze, with
dragon decoration in blue; yellow at neck, with blue
and white decoration. By Makuzu.
Vase, beaker shape, decoration of plum-blossom in
white reserve. Signed by Makuzu.
Vase, ovoid shape, cherry-blossom on green glaze.
Vase, bottle shape, “ rosy dawn” decoration of dragon,
carved in bold relief at neck. Signed by Makuzu.
Vase, basket design, decoration of fish and flowers.
By Makuzu.
Vase, bottle shape, design of basket, with vines. By
Makuzu.
Vase, bottle shape, with carved design of blossoms in
white on red and green mottled glaze. Signed by
Makuzu.
Vase, bottle shape, blue and gray mottled. By artist
Makuzu.
Vase, beaker shape, plum-tree decoration under glaze.
By Makuzu.
Vase, bottle shape, flaring neck, “rosy dawn,’
oration of dragon at neck. By Makuzu.
’
with dec-
Porcelain vase, on lower part of body representation of
water in blue, with duck swimming and on wing.
Signed Makuzu.
Porcelain vase, smooth gray mottled glaze. Signed by
Makuzu.
Vase, bottle shape, with square neck, green and black
ring patterns on green glaze, shi-shi, or sacred lion, in
brown and white. Signed by Makuzu.
30 THE H. DEAKIN COLLECTION.
’
231 Vase, bottle shape, flaring neck, ‘‘ hawthorn’
in white reserve; after the old Chinese.
pattern
232 Vase, jar shape, mottled gray glaze, figures of three
saki boys carved in relief, at mouth.
233 Vase, bottle shape, seiji glaze, mottled with green.
By Makuzu.
234 Vase, bottle shape, flaring neck, ‘rosy dawn,” with
figure of ‘‘ God of the Wind ” raising astorm. Signed
by artist Makuzu.
235 Vase, creamy white paste decoration of mythological
beasts ; ‘ shi-shi,” or sacred lion, in black. Signed by
_ Makuzu.
236 Vase, bottle shape, flaring neck, with decoration of fish
and net under the glaze. Signed by artist Makuzu.
237 Tall vase, flaring neck, decoration of snow-laden plum-
blossom in white reserve under drab-color glaze.
Signed by Makuzu.
238 Pair vases, light blue enamel ground, with fine floral
decoration in natural colors; fine wire work. By
Morimoto, Nagoya.
239 Pair enamel vases, bottle shape; floral decoration on
gray ground. By artist Morimoto, Nagoya.
240 Pair enamel vases, flowers on light gray ground, panels
in red with dragons in various colors. By Suzuki,
Kyoto.
241 Pair enamel vases; stork and chrysanthemum decora-
tions on pale blue. By Morimoto, Nagoya.
242 Pair black and red enamel vases, bottle shape ; scalloped
borders, decorated with brown enamels, design of
Ho-o bird, bands of fine wire work. By Honda,
Nagoya.
SECOND AFTERNOON’S SALE. 31
243
244
245
246
247
Pair black gold stone vases, with decoration of butter-
flies in natural colors.
Enamel koro, globular shape; scalloped border; around
base alternate panels, decorated with Ho-o birds and
flowers ; band of tea-color enamel with Ho-o bird and
floral ornamentation; second band of black gold
stone enamel with butterfly design. Choice speci-
men of Namikawa of Kyoto.
Enamel incense box; sides and ends of soft seiji
enamel, with chrysanthemum in white; cover of pale
blue enamel, with delicate floral designs. By Mori-
moto,
Incense box; light brown enamel with Ho-o bird de-
sign in medallions, in finest wire work and colored
enamels. By Honda, Nagoya.
Pair enamel vases; butterfly decoration on light brown
ground. By Honda, Nagoya.
248 Enamel koro; shaded blue ground with chrysanthe-
249
250
251
peo
253
254
255
mum in colors. By artist Morimoto, Nagoya.
Red lacquer shrine, with carved figure of Daibutzu.
Old gold lacquer shrine, with figure of Confucius.
Black lacquer shrine, figures of Taishaku standing on
a devil. .
Black lacquer shrine, with figure of goddess Kannon.
Black lacquer shrine with figure of Marschiten, with
imperial crests of gold lacquer.
Black lacquer shrine with figure of Goddess Kannon.
Antique wall clock, 200 years old.
32 THE H. DEAKIN COLLECTION.
256 Antique wall clock, 200 years old.
257 Antique wall clock, 150 years old.
258 Antique wall clock, 150 years old.
259 Antique wall clock, 150 years old.
260 Bronze mirror, case, and stand.
261 Japanese short sword, wood scabbard and hilt, ivory
mountings.
262 Japanese short sword, heavy blade, carved wood. scab-
bard and hilt lacquered in red and green.
263 Japanese short sword, carved wood scabbard and hilt,
in form of dragon.
264 Japanese short sword, carved wood scabbard and hilt.
265 Japanese short sword, carved wood scabbard and hilt,
in imitation of bamboo; deer horn and bamboo trim-
mings.
266 Japanese short sword, carved blade, carved wood scab-
bard and hilt, with fine gold and bronze trimmings.
267 Japanese short sword, carved wood scabbard and hilt,
lacquered in black.
268 Japanese short sword, lacquer scabbard, bronze trim-
mings.
269 Japanese short sword, carved wood scabbard and hilt,
in form of dragon, lacquered in red.
270 Japanese dagger, heavy blade, carved in form of “God
of the Winds;”’ ink brush, lacquered in red, signa-
ture inlaid on ivory.
271 Pair miniature swords, solid silver tsuba and trim-
mings.
SECOND AFTERNOON’S SALE. 33
272 Elaborate ivory exhibition sword; hilt, scabbard, tsuba,
and obi-tori all artistically carved in bold relief.
First panel represents No dancers playing musical
instruments; second, Watanate (the warrior) cutting
off devils’ arms; third panel, god of the wind, raising
a storm, and Yofugiu (angel); panel four, Takenaka,
a famous warrior, and Masashige and his son,
followers of the Shogun; panel five, Benki and god-
dess Rifugin on lion; panel six, Komachi, a famous
poetess and musician; panel seven, Sun goddess
coming out of the rocks, a Chinese fable. Signed
Shumin. Entire length 62 inches.
273 Court sword, corrugated blade, length 23 inches; made
by Samoji, 1642. Signed. Seppa of gold, hilt of
silver; has panel decorated with Ho-o birds, carved
and inlaid with gold; scabbard of silver lacquer, dec-
orated in floral design of gold lacquer and mother-
of-pearl, by Korin; tsuba of silver and iron, with
decoration in various metals; kashira, fuchi, obi-
tori, and kojiri, of solid silver.
274 Short sword, carved blade, length 13 inches; made by
Kiomedzu. Signed in 1700. Hilt of sharkskin
wound with whalebone; scabbard of fine black
lacquer. Kashira, fuchi, kodzuka, obi-tori, kojiri, all
carved in floral design of solid silver.
275 Souvenir album of Japan. Contains 50 fine photographs
of landscapes, figure subjects, views of historical
buildings, tombs, and celebrated places, all exquisitely
colored by native artists; handsomely bound in
cherry-blossom lacquer; has fine fabric case, and an
extra tin case.
276 Painted porcelain panel, design of storks in grasses and
mist; painted by Showun |
5
34 THE H. DEAKIN COLLECTION.
277 Enamel tray; scalloped edge, finished in shakudo ;
gray ground, merging into pale blue; design: ban-
tam rooster, true to nature; fine specimen by Nami-
kawa Sosuke, Tokyo.
278 Enamel tray, by Namikawa Sosuke; ground color of
smoke gray, running into blue; design: a marsh bird
in soft brown, wading under big dark gray leaves,
with background of grasses and blossoms. Signed.
279 Enamel box, soft gray, with yellow chrysanthemum
and leaves in shaded brown and red. Signed by
artist Namikawa Sosuke, Tokyo.
280 Square enamel box, soft gray ground, decoration of
white ragged chrysanthemum. Signed by artist Na-
mikawa Sosuke, Tokyo.
281 Elaborate bronze incense burner, artistically wrought
by Sosuke, Tokyo; hexagonal shape, on tall tripod
and circular base; panels of censer ornamented in
relief with storks, fishes, animals, and mythological
subjects ; cover surmounted by figure of the Goddess
Benten in bold relief; handles formed by flying
dragons. Height, 58 inches; diameter, 24 inches.
282 Hirado porcelain incense burner, in form of bird-cage;
clear white quality, decorated with blue inside of
cage, and carved branch of tree and birds.
283 Hirado incense burner; blue decoration, supporting
column carved with leaf designs. Koro of fine lace
pattern, has dragon handles; has been repaired.
284 Hirado porcelain incense burner; design of No-dan-
cer’s hat; blue and brown decoration, cover of lace-
work pattern.
285 Hirado porcelain incense burner; clear white paste
with delicate blue decoration; body of koro and
cover of intricate lace-work pattern.
as
SECOND AFTERNOON’S SALE. 35
286
Large bowl, beautifully painted and carved; ornamenta-
tion of peonies in red, purple, gold, green, and yel-
low enamels; inner surface has carved peony and
green enamel leaves, one of Seyfu’s best produc-
tions; was awarded the silver medal at Tokyo
Exhibition, 1892. Carved signature of artist.
Porcelain bowl by Seyfu; rich yellow glaze outside,
and elaborately decorated inside with floral design
and dragon in black and green enamel. Signed.
Low comport, decoration of orchid and leaves in fine
enamels and gold; has been repaired. By Seyfu.
Bowl, by Seyfu, decorated on the outer surface with
iris and grasses. Exhibition piece at Tokyo.
Bowl, by Seyfu, with iris and grass decoration on the
outside, clear white texture. Exhibition piece at’
Tokyo.
Bowl, iris decoration on the outer surface by artist
Seyfu. Exhibition piece.
Small: perfume burner, on feet; decoration of clouds
and chrysanthemums by Seyfu.
Small incense burner; fine pink crackle. Carved sig-
nature of Seyfu.
Small bowl, fine celadon glaze. By Seyfu.
Porcelain incense burner, ivory-white glaze, carved
decoration. Has signature of Seyfu.
Bowl, powder blue decoration, with character of
“Good Luck.” By Seyfu.
Kyoto rose jar, finely crackled, with Mikado’s and
Shogun’s crest in heavy blue enamel; 40 years old.
Old Imari bowl, with cover finely decorated in red,
blue, green, and gold. Fine specimen.
THE H. DEAKIN COLLECTION.
Namban Hibachi, made to imitate bronze, carved in
Bowl and cover, old Imari; fine decoration of various
colored medallions on red ground.
Celadon brush-holder, carved under glaze.
Hirado cracker jar, low form, decorated in blue and
Hirado incense burner, hexagonal shape; figure subject,
Bishu teapot, seiji glaze, carved design.
Kishu porcelain incense burner, carved ornamentation
Ceremony cup of Soma ware, carved decoration of
horses and crest in white paste on inner and outer
Temple tapestry, ground of light brown needlework,
embroidered in design of trees, flowers, and birds;
has blue and brocade border. 54 x 84 inches.
Rich temple hanging; subject, taken from Chinese
mythology: temple, flying storks, symbols, and other
designs, beautifully embroidered in gold threads and
colored silks on deep blue satin; brocade border.
Temple hanging, rich design; mythological subject:
Goddess Benten, dragons, turtles, birds, and reptiles
embroidered in gold threads and subdued colors in
silk on needlework ground; brown brocade border.
36
299
relief; a rare specimen.
300
301
302
white.
303 Fil
in blue and white.
304
305
on panels.
306
surface.
307
308
96 x 60 inches.
309
96 x 66 inches.
310
Temple hanging, elaborate design: warrior slaying
tiger; Ho-o bird, dragon, and other designs in gold
thread and colored silks; metal-work ornaments;
blue brocade border. 72 x 54 inches.
> ae
SECOND AFTERNOON’S SALE. 37
311 Rich temple hanging, neediework ground, with gor-
geous designs of stork and water spray, and gold-
thread brocade border. 96 x 60 inches.
312 Pair very large enamel vases, urn shape; rich decora-
tion on neck and base, of arabesque design with
serpents entwined in shades of blue, black, gray,
olive, and gold stone; ground color a very rich soft
red, and rare hue in enamel; very full decoration of
maple branches in gray shading to black, with leaves
in autumn tone of gray, brown, and red, so exquisitely
shaded that they appear to stand out of the ground.
Altogether the gems among the large enamels, and
of a quality and beauty hard to match anywhere.
Have carved black wood stands.
SECOND EVENING’S SALE.
313 Pair Taizan vases, decoration of birds on red glaze.
314 Pair Taizan vases, pilgrim shape, decoration of birds
and flowers on blue glaze.
315 Another pair, decoration of owl on yellow glaze.
316 Pair Taizan bottle-shape vase, fine crackle, under deep
yellow glaze.
317 Pair Taizan vases, yellow glaze, decoration of flowers
in natural colors.
318 Pair Taizan vases, pilgrim shape; vine decoration on
smoke color ground.
319 Pair Taizan vases, bottle shape, long neck; chrysanthe-
mum decoration on pale blue glaze.
320 Teapot. By Gosuki. Chrysanthemum decoration in
blue and white.
321 Vase, tall bottle shape, short neck; birds and wistaria,
and decoration on pale blue ground.
322 Hirado figure, white porcelain with blue decoration.
323 Hirado incense burner, shape of No-dancer’s hat; blue
and brown decoration, cover of lace work.
324 Hirado incense burner, blue decoration, supporting
column carved with leaf design; koro of fine lace
pattern, has dragon handles.
325 Incense burner seiji, design of shi-shi.
SECOND EVENING’S SALE, 39
326
327
328
329
330
33!
332
333
334
335
336
337
338
339
340
341
Small vase, design of fish in net under white glaze. By
Makuzu.
Small vase, peach-color glaze. By Makuzu.
Small vase, flaring neck, design of fishes in net, under
white glaze. Signed by Makuzu.
Small coupe, sang-de-beuf glaze, with iron rust effect
at neck. By Makuzu.
Small coupe, peach-blow glaze. By Makuzu.
Vase, short neck, peach-blow glaze.
Vase, bottle shape, ‘‘rosy dawn,” ornamentation of
lizard carved in relief at neck. Signed by Makuzu.
Vase, ovoid form, with mottlings of gray and pink.
Signed by Makuzu.
Vase, bottle shape, long neck, “rosy dawn,” with
decoration of lizard under the glaze. Signed by
Makuzu.
Vase, ovoid form, mottled glaze. By Makuzu.
Vase, bottle shape, long neck, “ rosy dawn,’ lizard
carved in relief at neck. Signed by Makuzu.
Vase, pear shape, sang-de-beuf glaze, with mottling.
Vase, low form, peony decoration in blue and white,
on coral glaze. By Makuzu.
Vase, bottle shape, gray glaze. By Makuzu.
Vase, beaker shape, landscape decoration in blue,
white, and pink.
Vase, ovoid form, dragon decoration of brown on peach-
color glaze. By Makuzu. |
40 TPE SE, (DEALIN AGOLLECTLION.
342 Vase, bottle shape, ‘‘ rosy dawn,” dragon decoration
under glaze. By Makuzu.
343 Vase, pear shape; wave decoration in brown, with
dragon in gray under the glaze. By Makuzu.
344 Vase, pear shape, flaring neck, with peach and pale
green color glaze. By artist Makuzu. ©
345 Vase, pear shape, flaring neck, “shades of evening”
decoration of snow-laden plum-blossom. By Makuzu.
346 Vase, bottle shape, bird and flower decoration under
lemon yellow glaze. By artist Makuzu.
347 Vase, ovoid shape, ‘‘ hawthorn” pattern, after the old
Chinese. By artist Makuzu.
348 Large jar, vine and butterfly decoration, under lemon
yellow glaze. By artist Makuzu.
349 Large vase, bottle shape, decoration of fish in net, on
gray glaze. By Makuzu.
350 Large vase, scroll, floral, shi-shi, and other designs in
sepia, under glaze. Signed by artist Makuzu.
351 Pair enamel vases, floral decoration of fine-colored
enamels on blue ground. By Morimoto, Nagoya.
352 Pair black gold stone vases, decoration of butterfly
in natural colors. By Honda, Nagoya.
353 Pair enamel vases, birds and floral decoration in fine
colors of enamels on pale blue. By Morimoto,
Nagoya.
354 Pair enamel vases, flat shape, ornamentation of chrys-
anthemums in natural colors on soft gray ground.
By artist Morimoto of Nagoya.
355 Pair enamel vases, shaded gray ground, plum-blossom
and chicken decoration. By Morimoto of Nagoya.
SECOND EVENING’S SALE. 4I
356 Enamel koro, low oval shape on four gilt feet. The
entire outer surface is covered with intricate wire
work in silver and brass, with birds, flowers, vines,
crests, and diaper designs in beautifully combined
enamels; ground work of green and red goldstone,
pink and gray enamels. On the cover are exquisite
floral crests and butterflies; top ornament is a lotus-
flower wrought in bronze and gold gilt. Height, 7
inches; diameter, 8 inches. Has carved stand.
357 Enamel koro, oblong shape; in diamond-shape panels
are elaborate designs of dragons and the sacred bird;
the border and a wide band are ornamented with
similar designs, all in beautifully combined enamels
and silver wire. The cover is enamelled with mytho-
logical subjects. Height, 14 inches; diameter, 12
inches. By Honda of Nagoya.
358 Enamel koro, diamond-shape panels; one of salmon
pink, with white peony; one in gray, with landscape;
the third of shaded blue, with hanging vine decora-
tions. By Morimoto of Nagoya. Height, 14 inches.
359 Embroidered picture, pine-clad mountain under sky
of mottled clouds, with village in the foreground,
beside a running stream, with trees in autumn colors
all about.
360 Embroidered landscape; background of mountains
with sky above; the main slope has pine-trees and
blossoming plum-trees all over it; at foot is running
water, with a weir stretched across. In the imme-
diate foreground stand smaller pine- and plum-trees.
361 Enamel tray, round, with scalloped border, finished
in shakudo. Ground color, soft cloud gray. De-
sign, a white stork standing on one yellow-green
foot, the other half drawn up. Very fine. Signed
Namikawa. om
6
42 THE H. DEAKIN COLLECTION.
1 es Se ee ee ee
362 Enamel tray, ground color very soft gray. Decoration,
bird perched on a spray of pink blossoms, edged
with shakudo. By Namikawa Sosuke, Tokyo.
363 Enamel incense box, sides and ends of soft seiji enamel,
with chrysanthemums in white ; cover is of pale blue
enamel, ornamented with delicately wrought floral
designs. Made by Morimoto, Nagoya.
364 Souvenir album of Japan, containing 50 fine photo-
eraphs of landscapes, figure subjects, views of
temples, historical buildings, and other places of note,
all beautifully colored by native artists ; bound in
rich Japanese brocade; has fine fabric case, and an
extra tin box.
365 Japanese short sword, hilt and scabbard of wood,
lacquered and inlaid with ivory and mother-of-
pearl.
366 Japanese short sword, carved wood representing a
dragon, lacquer in red.
367 Japanese short sword, carved wood representing
dragon, black and gold lacquer.
368 Japanese short sword, hilt and scabbard of wood.
369 Japanese short sword, hilt and scabbard of wood;
ivory trimmings. '
370 Japanese short sword, hilt and scabbard of wood ;
inlaid with old coins ; has ivory trimmings.
371 Japanese short sword, carved-wood hilt and scabbard ;
has ivory and bronze trimmings.
372 Japanese short sword, leather hilt, lacquer scabbard ;
ivory and bronze trimmings.
373 Japanese short sword, hilt and scabbard of wood,
lacquered in black; has ivory trimmings. '
374 Japanese short sword, hilt of shark skin, lacquered
scabbard ; horn and bronze trimmings.
SECOND EVENING’S SALE. 43
375 Pair miniature swords, solid silver mountings.
376 Short sword; length of blade, 84 inches; hilt of whale-
bone and silver in design of bamboo, with ornament
of birds; scabbard of black lacquer, decoration of
bamboo and leaves in gold; kashira, fuchi, kodzuka,
and kojiri in solid silver, in design of bamboo; has
the Daimio Sendai crest.
377 Dagger, corrugated blade; length, 8 inches; hilt and
scabbard of black lacquer, ornamented with maple-
leaf design and gold; solid silver mounting, and
ornaments beautifully mounted; kodzuka and chop-
sticks are of silver.
378 Long sword, carved blade, with design of dragons on
both sides; made by Horitoshi, 1800; length of
blade, 21} inches ; hilt of shark skin wound with silk ;
scabbard of black lacquer, flaked with gold; tsuba
in design of Diakoku’s bag of rice, and children at
play; kojiri in design of demon’s hat, and Shoki
hiding under it; kashira, fuchi, kodzuka, and obi-tori
are all in silver.
379 Long sword, carved dragon and corrugated blade;
made by Inouye-Shinkai, 1800. Signed. Length of
blade, 22 inches; hilt of shark skin wound with silk ;
- scabbard with gold flakes and clouds of silver lacquer ;
tsuba of silver, finely carved in design of dragon;
kashira, fuchi, kogai, kodzuka, and kojiri, all of solid
silver and carved.
380 Elaborate long sword, corrugated blade; length of
blade, 274 inches; hilt, scabbard, and tsuba of ivory
carved in bold relief, with 43 figures of life-like
monkeys; entire length, 42 inches.
381 Old black lacquer shrine, inside gold lacquer; bronze
images of Goddess of Mercy and two guards; deco-
rated with crest of Daimio Sasaki.
44 THE H. DEAKIN COLLECTION.
382 Old gold lacquer shrine, with bronze image of Bishamon,
God of War.
383 Black lacquer shrine, carved figure of Rakan, one of the
sixteen high priests.
384 Black lacquer shrine, with Goddess Kannon, of carved
wood.
385 Old black lacquer shrine, gold lacquer inside; has
carved-wood figure of Amida, God of Happiness.
SPECIMENS BY YABU MEIZAN,
ALL PAINTED UNDER MAGNIFYING GLASSES, AND
THE DECORATION PERFECT IN EVERY DETAIL.
386 Perfume box, design of temple drum, surmounted by
dog Foo; decorated with landscape and butterflies.
387 Small vase, cylindrical shape, landscape decoration.
388 Pair vases, border decoration on upper part and base,
entire body covered by water and'mountain scenery.
Signed.
389 Incense burner, entire body encircled by water and
mountain scenery, cover decorated with butterflies,
surmounted by a ball. Signed.
390 Satsuma tray, surface entirely covered by bands of but-
terflies (about 1,000) and chrysanthemums in colors
and gold; on underneath surface, 500 finely painted
butterflies. Signed.
391 Satsuma bowl, decoration of chrysanthemums on inner
surface ; outer surface decorated with open fans.
392 Satsuma bowl, bands of butterflies ; the design on this
piece is carried over edge of the bowl without break;
has 2,000 butterflies.
SECOND EVENING’S SALE. 45
I i ee ee
393 Satsuma rose jar, square shape; decorated in four
panels, with water scene, birds, flowers, and figure
subject ; around top and cover are minutely painted
butterflies and chrysanthemums.
394 Satsuma vase, cylindrical shape; fine border pattern
on body of vase is a landscape decoration, harvesting.
No. 397.
395 Pair Satsuma vases, cylindrical shape, decoration of
festival cart, and 45 figures of men and boys repre-
senting a Matsuri procession on festival days.
396 Satsuma figure: girl reading.
397 Old Satsuma tea jar, decorated with black and gold
wave pattern, and open fans painted with floral
46 THE H. DEAKIN COLLECTION.
designs in red, green, gold, and blue; fine border
around neck and base; has solid silver cover with
Ho-o bird carved in relief.
398 Satsuma tea jar, creamy white texture, finely crackled,
decoration of bamboo fence and chrysanthemum
flowers in red, gold, blue, and black; has old brocade
cover from the private collection of Daimio Sendai.
A fine specimen.
399 Satsuma perfume burner, decorated in three panels with
the Ho-o bird, which are bordered by squares in blue
enamel and gold; has solid silver cover.
400 Perfume jar, low circular shape, richly decorated in
gold and enamels, with fan-shaped crests, detached
flowers, etc. ; open-work silver cover.
401 Satsuma cup, fine crackle texture, chrysanthemum
flower decoration in red, gold, and blue; inside bor-
der decorated with red and gold on blue enamel.
402 Pair large enamel vases, dull red ground, with cherry-
blossoms in white, and butterflies among the branches
in various colors. By Gotoya, Kanagawa.
403 Pair large enamel vases, elongated urn shape, massive
but very graceful; base gray, with conventional
flowers in green and gold; body color rich turquoise
blue, very lustrous and even in tone; decoration,
elaborate design of plum and cherry flowers in full
bloom with trails of wistaria in bud. All are in
natural tones, as are the birds that perch or fly
through the flowery maze. Design worked with
silver wires. Made by Gotoya, Kanagawa. Have
handsome black wood stands.
404 Temple hanging; ground of light gray needlework ;
at the top Daimio’s crest, embroidered in gold thread,
pink peonies in the centre, storks at the lower corner.
60 x go inches.
SECOND EVENING’S SALE. 47
405 Temple tapestry; ground, needlework of dark brown
silk, embroidered with figures illustrating Japanese
legend has brocade border. 54x 72 inches.
406 Temple tapestry ; dove-color ground of needlework,
embroidered with design of flying fish, sacred bird,
turtles, and autumn leaves in gold thread and bright-
colored silks; has brocade border. 60x 72 inches.
407 Temple tapestry; ground of light brown solid needle-
work, embroidered with dragon designs; has brocade
border. 60x 72 inches.
408 Temple hanging; gray needlework ground, embroidered
with pine-trees, dragon, figure of Daimio on horse-
back and two attendants. . 51 x 64 inches.
409 Temple tapestry; ground, needlework done in light
dove-gray silk, embroidered with mythological sub-
jects and Goddess Benten. 66 x 96 inches.
410 Temple tapestry; ground, needlework done with light
brown silk, embroidered design of storks, saki boys,
and jars, crest of Daimio Kato in gold thread at top;
has brocade border. 60x 84 inches.
411 Temple tapestry, ground of light-gray needlework em-
broidered design, ship and Chinese sages riding on
fish, worked in gold thread and colored silk; has bro-
cade border. 60x go inches.
Al2
413
414
THIRD AFTERNOON’S SALE.
Silver spoon, bowl carved in form of chrysanthemum.
Silver bonbon spoon, peony bowl.
Silver teaspoon ; bowl, peony design.
415jSilver spoon, in design of skamisen, Japanese musical
416
417
418
419
instrument.
Silver spoon, bowl carved in peony design.
Sets of six silver salt spoons, bowls carved to represent
different Japanese flowers and blossoms.
Set of six silver teaspoons ; bowls, peony design.
Silver bonbon spoon, bowl carved in elaborate design
of peony flower.
Silver spoon, in design of skamzsen, musical instrument.
Silver spoon, bowl carved in design of chrysanthemum.
Silver spoon, bowl in form of peony.
Set of six silver spoons, bowls in design of fans.
Silver vermilion box, cover carved in relief and floral
design.
Silver vermilion box, cover chased and ornamented
with crests.
Silver vermilion box, round cover ornamented with
leaf and floral design.
Silver vermilion box; round cover has carved design
of Tokugawa crest; sides ornamented with carved
floral design.
THIRD AFTERNOON'S SALE. 49
Bt et eee
435
437
Silver inro, medicine case; ornamentation, floral design
carved in low relief.
Inro of silver and shakudo bronze. Netsuke of fine
bamboo, gold trimmings; coral slide.
Silver inro, ornamented with carved design of crests;
has silver chain and slide.
Sets of artists’ implements, silver.
Silver water bottle, carved to represent sacred moun-
tain of Fujiyama,
Miniature saki pot, silver, with ornamentation of floral
design carved in low relief,
Netsuke of silver and shakudo, in design of warrior’s
helmet.
Miniature cabinet, silver, ornamented with carved
design.
Miniature kago and pole, silver, with carved ornamen-
tation.
Miniature smoking cabinet and tobacco boxes, silver,
with carved ornamentation.
Silver chatelaine, with jade and agate ornaments and
silver toilet implements.
Silver pouch chain and ornaments, finely wrought in
silver and shibuichi.
Silver yatate (ink box and brush holder), ornamented
with finely carved design.
Silver yatate, repoussé and carved ornamentation.
Fine old silver inro; has carved signature.
Shibuichi yatate, inlaid with silver. Old.
Libation cup, finely carved from rock crystal, exceed-
ingly pure quality. .
7
50 THE H. DEAKIN COLLECTION.
445 Vermilion dish, white crystal.
446 Pencil stand, of very pure quality of crystal.
447 Rock crystal box, with cover. Round.
448 Rock crystal vase and cover. 23 inches in height.
449 Rock crystal vase, ornamented with carved lion-head
handles. Height, 3 inches.
450 Vase, bottle shape, carved from rock crystal of exceed-
ingly fine quality. Height, 43 inches.
451 Jade hairpin, gray white texture; birds of paradise
carved in relief.
452 Set of two jade ornaments, pierced and carved design.
453 Two jade ornaments, half round; pierced and carved
ornamentation.
454 Jadeite ornament, group of melons and vine; milk-white
texture, with emerald green streaks.
455 Pair of mandarin buttons, carved jadeite, or fei-tsui,
emerald green and white texture.
456 Fei-tsui pencil rest, white with emerald green mark-
ings; engraved ornamentation.
457 Miniature jade vase, gray texture, with emerald green
streak; has finely carved ivory stand.
458 Figure of idol Diabutsu, carved in gray white jade; has
teak-wood stand.
489 Ivory carving, figure of No dancer.
460 Ivory carving, washerman.
461 Ivory carving, fruit seller.
462 Ivory carving, child playing with shell.
463 Ivory carving, old man having tea.
464 Ivory carving, Daikoku shaving Fukurokugin’s head.
ai
THIRD AFTERNOON’S SALE. SI
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
Ivory carving, silk merchant.
Ivory carving, man with hawk.
Ivory carving, carpenter.
Ivory carving, old man cutting stone for grinding rice.
Ivory carving, old man making large rice cake for holi-
day feast.
Ivory carving, old man making fire-pots.
Ivory carving, carpenter sharpening and adjusting tools.
Ivory carving, street performer with monkey.
Ivory carving, God of Thunder painting his drum.
Ivory carving, old woman preparing dinner.
Ivory carving, old man with saki gourd and cup.
Ivory carving, street story teller, with movable head.
Ivory carving, man and shell.
Ivory, illustrating the legend of ‘The Fisherman and
Enchanted Turtle.”
Ivory carving, priest and child. Signed Taminibu.
Two small enamel vases, red and green gold stone, with
floral design wrought in fine wire work.
Enamel incense box, round shape body, with floral de-
sign in bright enamels; cover wrought in fine silver
wire work, dragon design.
Enamel box, square, 2? x 23 inches; shaded gray flower
and butterfly decoration. By Namikawa Sosuke, of
Tokyo; has inlaid signature.
Enamel box, oval shape, light brown body color, with
flower decoration in white, 3 x 25 inches. By Nami-
kawa Sosuke, Tokyo; has inlaid signature.
LEE it DEAICIN, ‘GOLLE CLION,
484
485
486
487
488
489
492
493
Enamel koro, by Honda, Nagoya, decorated with scal-
loped border patterns and medallions in different
colors of enamel. Height, 4 inches.
Black enamel koro, globular shape, fine floral and other
designs in light enamels, and leaves in darker colors.
By Suzuki of Kyoto. Height, 4 inches.
Enamel vase, by Yamada, jar shape, clouded gray
enamel, with dragon decoration. Height, 5 inches.
Set three pieces of enamel, two vases and koro, delicate
peach color, with floral design in white and green.
By Yamamoto, Nagoya.
Pair enamel vases, pointed panels of green and brown
gold stone, decorated with Ho-o bird and dragon
design, light green enamel around upper part of body.
Height, 6 inches. By Honda of Nagoya.
Black enamel koro, oblong shape; body decorated with
panels of yellow, green, and gray enamels, with de-
signs of dragon, Ho-o birds, and chrysanthemums, in
various colors ; cover ornamented with mythological
subjects. Made by Namikawa of Kyoto.
One lot (20 pieces) of choice old blue and white porce-
lain tea jars, incense burners, cup stands, etc.
Fifteen doctor’s sticks, made of different woods, finely
carved and inlaid ornamentation.
Two fine silk lace handkerchiefs.
Square of embroidery, 32 x 32 inches. Groundwork
of solid needlework, done in light gray silk thread,
embroidered with peonies and storks; darker band
decorated with Mikado’s crests, in gold thread. Has
brocade border and backing.
THIRD AFTERNOON’S SALE. 53
494 Square of embroidery, 34 x 36 inches. Ground of gray
silk needlework, embroidered with peony design, in
colors.
495 Square of embroidery, 30 x 30 inches. Ground of
dark brown needlework; Hotai, God of Children,
surrounded by group of boys, embroidered in the
centre.
496 Square of embroidery, 32 x 32 inches. Ground of dove-
gray needlework, embroidered with floral design and
birds ; imperial family crest in green; has brocade
border and backing.
437 Square of embroidery, 32 x 32 inches; ground of
needlework, gray silk, decorated with embroidered
design, Mikado’s crest, flowers, and ducks.
498 Souvenir album of Japan; contains 50 fine photographs
of landscapes, figure subjects, views of historical
buildings, tombs, and celebrated places, all exquisitely
colored by native artists; handsomely bound in rich
Japanese brocade; has fine fabric case, and an extra
tin case.
499 Enamel tray, ground color of blue gray; design, stork,
willow-tree, and moonlight; after the old master
Hoksai, finished in fine shakudo. By Namikawa
Sosuke, Tokyo; has inlaid signature.
500 Enamel plaque; gray ground, with branch of plum-
blossoms in natural colors; signed by Namikawa
Sosuke; has rim of fine shakudo. Diameter, 11
inches.
501 Rare specimen of art in pottery; large porcelain vase,
of basket design, the meshes being deeply carved
in the biscuit, and gradating from centre to foot
and neck; in three shield-shape medallions are impe-
rial dragons in sepia brown, beneath lustrous glaze.
A masterpiece, by Makuzu.
54 THE H. DEAKIN COLLECTION.
502 Porcelain vase, rich yellow glaze, with plum-blossom ;
decoration in colors; height, 1of inches. By Makuzu,
Kozan; signed. Has finely carved teak-wood stand.
From Fine Art Exhibition, Uyeno, 1892.
503 Porcelain vase, shape of lotus-bud; has four panels
decorated with scenes illustrating Chinese wedding.
Height, 10 inches. Has carved teak-wood stand.
From Fine Art Exhibition, Uyeno, 1892.
504 Porcelain vase, shaded green glaze around body, with
plum-tree decoration; around upper part, carved
maple-leaves of delicate pink. Height, 10 inches.
By Makuzu, Kozan; signed. Has carved teak-wood
stand. From Fine Art Exhibition at Uyeno, 1892.
505 Porcelain vase, shades of deep red and gray ; decora-
tion of dragon in clouds. Height, 12 inches. By
Makuzu, Kozan; signed. Has handsome carved
teak-wood stand. From Fine Art Exhibition at
Uyeno, 1892.
506 Porcelain vase, “‘shades of evening,” with cherry-
blossom decoration. Height, 10 inches. By Makuzu,
Kozan; signed. Has teak-wood stand. From Fine
Art Exhibition, Uyeno, 1892.
507 Porcelain vase, clear white texture, with cherry-blos-
som design in green and pink. Height, ro inches.
By Makuzu, Kozan; signed. Has handsome carved
teak-wood stand. From Fine Art Exhibition,
Uyeno, 1802.
508 Temple hanging, 44 x 6' feet; ground, solid needle-
work, in light gray colored silk thread, embroidered
with designs of fans and sacred birds in medall-
ions; has dark purple border.
509 Temple hanging, 44x 7 feet; light gray ground of
needlework, embroidered with design of birds, leaves,
and medallions of Mikado’s crests; has brocade
border.
THIRD AFTERNOON’S SALE. 55
510 Temple hanging, 5 x 7} feet; ground of light brown
needlework, embroidered with floral design and
shi-shi, sacred mythological lions; has blue brocade
border.
511 Temple hanging, 5 x 7 feet; ground, needlework of
brown silk, embroidered with figures illustrating
Japanese legends.
512 Temple hanging, 5 x 74 feet; ground of needlework
done in soft shade of light brown, embroidered with
design of peacock, dragons, and peonies ; has brocade
border.
513 Screen, four-fold; black satin ground, embroidered with
designs of bears and pine-trees; back of panels have
applied gold leaf, and are decorated with fans; bot-
tom of each panel shows braid-work of cream-colored
satin, representing bamboo: black lacquer frame,
bronze mountings. By Nishimura, Kyoto; height,
6 feet 5 inches.
THIRD EVENING’S SALE.
314 Porcelain vase, white glaze, with ‘‘rosy dawn” and
dancing skeleton decoration; height, 74 inches. By
Makuzu, Kozan. Signed.
515 Porcelain vase, peach tint, with dark mottled glaze
around neck; height, 7$ inches.
516 Porcelain vase, white glaze, decorated with plum-blos-
soms in brown; height, 74 inches. By Makuzu,
Kozan. Signed.
517 Porcelain vase, ‘“‘shades of evening”; decoration,
dragon in clouds: height, 7 inches. By Makuzu,
Kozan. Signed. Exhibition piece.
518 Porcelain vase, red and white mottled glaze around
base; decoration,. flock of geese; height, 6 inches.
By Makuzu, Kozan. Signed.
319 Porcelain vase, temple-drum shape, light green glaze
at base, shading into delicate pink; maple-leaf deco-
ration carved under the glaze; height, 6} inches.
By Makuzu, Kozan. Signed.
520 Porcelain vase, delicate pink glaze; carved peony dec-
oration; height, 7 inches. By Makuzu, Kozan.
Signed.
521 Porcelain vase, light seiji green glaze, tinted with pink,
with pink blossoms faintly seen under the glaze. By
Makuzu, Kozan. Signed. Height, 9 inches.
522 Porcelain vase, gourd shape, ‘‘rosy dawn,” with dec-
oration of dragon in high relief around the body;
height, g inches. By Makuzu, Kozan. Signed.
wa
523
535
THIRD EVENING’S SALE. 57
Porcelain vase, bottle shape, scroll and blossom deco-
ration in red.
Old soma cup; has the horse design inside, and soma
seal mark underneath.
Old ninsei water bottle, ornamented with various de-
signs in blue and green enamels. Height, 4 inches.
Fine old Imari porcelain cup stand, decorated in red,
green, and blue.
Old ninsei teapot, yellow and black glaze, floral deco-
ration.
Old Imari porcelain bottle.
Old Nabashima porcelain dish, with cover; blue and
white.
Old ninsei vase, bottle shape, carved floral decoration
in blue, yellow, and green enamels. Height, 5 inches.
Old Kutani porcelain teapot, decorated in red and gold,
Chinese design. Fine specimen.
Old Imari saki pot, rich blue glaze.
Bishu porcelain incense holder, clear blue and white:
has six panels of carved open lace-work design.
Height, 4? inches.
Pair small enamel vases, black and gold-stone enamel
around the neck and base, border of intricate work-
manship; on body of vase are butterflies in natural
colors. Height, 5 inches, Made by Honda, Nagoya.
Pair enamel vases, bottle shape, scalloped panels
around the body which are decorated with dragon
and Ho-o bird, upper part of body and neck covered
with bands of very fine work. By Namikawa,
Kyoto. Height, 6§ inches.
8
58 THE H. DEAKIN COLLECTION.
530 Pair of enamel vases, light blue ground, decorated with
storks and chrysanthemums, wrought in very fine
silver wire work. Height, 13 inches. By Morimoto,
Nagoya.
537 Enamel koro, soft gray ground, with elaborate design
of maple-leaves in autumnal colors, and chrysanthe-
mums. Exhibition piece of 1892. Made by Yamada.
Height, 9} inches.
538 Pair enamel vases, cylindrical shape, body color in
gray, with iris and swallows in colors. By Morimoto,
Nagoya. Height, 16 inches. .
539 Enamel koro, around base ten pointed panels, in each
a Ho-o bird; above this a band of fine silver wire
work, with dragon medallions, and around the top
a broader band with floral design and dragon panels
in fine wire work; the corners are ornamented with
mythological subjects. Fine example by Namikawa
of Kyoto. Height, 12 inches.
540 Ten Japanese short swords.
541 Ten doctor’s sticks.
542 Sword rack for three long swords, rich black lacquer,
with Tokugawa’s crests in gold.
343 Souvenir album of Japan, containing 50 photographic
views of celebrated temples, public buildings, land-
scapes, interiors, domestic and festive scenes, etc.,
all exquisitely colored by native artists; bound in
Japanese brocade; has fabric case, and an extra case
made of tin.
344 Square enamel tray, ground color gray; design, myth-
olegic duck, after the old paintings by Hokusai.
Made by Namikawa Sosuke, Tokyo; has signature.
THIRD EVENING’S SALE. 59
545 Heart-shaped plaque; pale blue ground shading to
delicate salmon color, black bird and water plants in
natural colors. Signed by Namikawa Sosuke. Di-
ameter 12 inches.
546 Enamel box, gray, with chrysanthemum flowers and
leaves in shaded yellow and brown. Length, 5 inches ;
width, 4inches. Made by Namikawa Sosuke, Tokyo.
Has inlaid signature.
547 Enamel jar and cover, representing Kyoto’s famous
temple-bell; the surface is banded rectangularly
with a design of scattered plum-blossoms on gold-
strewn ground; the upper panels show a rich min-
gling of soft tones, with overlay of shakudo studs ;
in the lower ones green and gold brown dragons dis-
port themselves, on a ground of chocolate brown,
above a beautiful double-arabesque border; even the
bottom is ornamented with a ho-wo bird. in flight ;
the top has mythological birds upon a rich mingled
ground; from the Fine Art Exhibition, Uyeno; has
beautifully carved teak-wood stand.
548 Jade ornament, design of fungi, etc. ; all boldly carved ;
gray white texture; has finely carved stand.
549 Specimen of rock crystal, polished.
550 Rock crystal ornamental piece, fruit design, carved from
large piece, milk-white texture; has carved stand.
551 Chinese porcelain vase, rich brilliant red glaze. Height,
14 inches.
552 Chinese porcelain vase, flat ovoid shape; robin’s egg
souffie glaze; carved handles.
553 Chinese porcelain dish, fine coral-red glaze; seal mark
in gold on side.
60
THE H. DEAKIN COLLECTION.
5.57
Chinese porcelain vase, flat ovoid shape, celadon glaze,
carved handles. Seal mark, Keen-lung.
Chinese porcelain vase, rose glaze, orange-peel surface.
Seal mark, Keen-lung ; has carved teak-wood stand.
Porcelain vase, globular bottle shape with tall neck,
engraved red ground, with imperial dragons in blue
beneath glaze, clouds in green enamel. Height, 12
inches. Seal mark, Keen-lung; has carved teak-
wood stand.
Large bottle vase, mirror black glaze with imperial
dragons and clouds in gold, the precious metal being
applied overthe glaze. Height, 21 inches; diameter,
13 inches. Mark of Keen-lung period. Has fine
teak stand.
Chinese porcelain vase, black and white hawthorn dec-
oration. Height, 11 inches. Has carved teak-wood
stand.
Vase, straight shape, with flaring neck; fine powdered
blue glaze, over which are figures, trees, and other
designs in various bright enamels; in two white
panels are ornaments and flowers in gold, applied
over the glaze. Height, 20 inches. Seal mark,
Kang-He period. Has carved teak stand.
560 Chinese porcelain vase, light yellow glaze, with brown
561
blossom decoration. Has carved teak-wood stand.
Modern.
Chinese porcelain vase, olive green glaze; decoration,
white hawthorn blossoms. Has carved teéeak-wood
stand. Modern.
Chinese porcelain vase, jar shape; rose glaze, with
hawthorn decoration. WHas fine teak-wood stand.
a
THIRD EVENING’S SALE. Ot
563 Snuff bottle, glass; carved panels, interior decoration
of Chinese poem and landscape; unique specimen ;
green stopper.
564 ‘Snuff bottle, Pekin glass, carved decoration in blue;
red ivory stopper. Keen-lung, 1736-17096.
565 Snuff bottle, rich amber, with fine emerald green jade
stopper.
566 Snuff bottle, mottled agate, with green stopper.
567 Snuff bottle, agate, melon design ; enamel and coral
branch stopper.
568 Snuff bottle, amethyst, melon design; carved coral
stopper.
569 Snuff bottle, fine green and white jade; silver spoon
and silver-mounted coral stopper.
570 Snuff bottle, white jade, with green jade stopper.
571 Snuff bottle, dark brown amber; carved lion-head
handles, green jade stopper.
572 Snuff bottle, Pekin glass, carved; show mark in red;
green jade stopper. Keen-lung,. 1736-1796.
THE H. DEAKIN COLLECTION.
589
590
591
592
593
Snuff bottle, carved white crystal; amethyst stopper.
Snuff bottle, gray onyx; ornamented with figure in
white, and carved in relief; fine green jade stopper.
Snuff bottle, black onyx; gray carving, in relief, of
floral and bird design ; white and green jade stopper.
Snuff bottle, very transparent amber ; red ivory stopper.
Snuff bottle, rich dark amber, carved; green jade
stopper.
Ivory carving, figure of old man drawing crests, box of
brushes on table. Signed Shin.
Ivory carving, mask-maker ; has movable head.
Ivory carving, No dancer; has movable head.
Ivory carving, umbrella-maker who has caught a mouse.
Ivory carving, old man with basket of fish.
Ivory carving, street performer.
Ivory carving, mask used by No dancers.
Ivory carving, child with drum and mask.
Ivory carving, wrestling match between
the King of Hades and a priest.
Ivory carving, group of three Menzai No
dancers. Signed Yasuhiro.
Ivory carving, carpenter sharpening plane.
Ivory carving, wood-carver making figure of dog Foo.
Ivory carving, lacquer worker.
Ivory carving, mask-maker.
Ivory carving, old man with saki gourd.
Ivory carving, Yebsu mending his clog.
394 Ivory carving, monkey carrying off lotus.
a
THIRD EVENING’S SALE. 63
595 Ivory carving, old woman who has stepped on snake.
Signed Masayuki.
596 Ivory carving, old man teaching child to write. By
Riokoku. Signed.
597 Ivory box, made from section of tusk, finely carved in
strong relief, with scene from Japanese Buddhism,
“The Rakan.” Signed Matskuro. Height, 4 inches;
diameter, 44 inches.
598 Temple hanging; 6x9 feet; ground of needlework
done in light brown silk thread, and wave pattern in
blue and white; embroidered design of dragons and
ho-wo birds spreading across the top; has brocade
border.
599 Temple hanging; 5 x 7 feet; ground, solid needlework
done in shade of soft gray; decoration, bamboo em-
broidered in green, red, and gold; at the top the
imperial family crest in rose color; two long-tailed
fowls and basket-work on lower portion ; has brocade
border.
600 Temple hanging; 5 x 7 feet; ground of dove-gray
needlework, embroidered with fans and storks; has
imperial family crest, in green, at the top.
601 Temple hanging; 5 x 7 feet; is embroidered with fans
and medallions on the sides and upper portion ;
sacred mountain of Fujisan; dragons in conflict and
waves on lower part ; has brocade border.
602 Temple hanging; 5 x 8 feet; ground of needlework,
embroidered with dragon and cloud design; has blue
brocade border.
603 Water color, lotus and bird. By Ozawa.
604 Water color, view of sacred red lacquer bridge at
Mikko. By Sato.
64 THE H. DEAKIN COLLECTION.
605 Water color, view of Lake Chusenji. By Sato.
606 Water color, golden temple at Kyoto. By Sato.
607 Water color, view of Lake Chusenji in winter.
Sato.
608 Water color, view of Fujiyama from Yoshiwara.
Sato.
609 Water color, view of Hakone. By Sato.
610 Water color, rapids at Nagasaki. By Sato.
611 Water color, stork and grasses. By Ozawa.
612 Very large cloisonné vase; 5 feet high; bottle shape,
with rich decoration of conventional arabesques in
gray blue, dark pink, and gold stone, covering the
neck; body color, the softest turquoise blue, paling
at the base with tones of yellow; profusely decorated
with plum-branches covered with blossoms of deli-
cate pink. By Gotoya, Kanagawa.
FOURTH AFTERNOON’S SALE.
613 Two silver spoons, bowls carved in form of chrysan-
themums.
4
614 Two silver spoons, in design of shamisen, Japanese
musical instrument. |
615 Two silver bonbon spoons, bowls carved to represent
peonies.
616 Two silver spoons, bowls carved in form of peonies.
617 Eighteen silver salt-spoons, bowls carved in form of
Japanese flowers and blossoms.
618 Set of six silver spoons, bowls carved in form of
peonies,
619 Hirado porcelain incense burner, blue and white; has
panels and cover of lace-work pattern.
620 Hirado porcelain incense burner, design of No dancer’s
hat; blue and brown decoration; cover of lace-work
pattern.
621 Four Bishu porcelain boxes, with covers; blue and
white.
622 Six packages of incense, containing five boxes each.
623 Two boxes of stick incense, containing ten packages
each.
624 Miniature Chinese porcelain vase, figure decoration.
625 Chinese porcelain water-bottle; bunch of lychees;
glazed in natural colors.
9
——_
==
——=
66 THE H. DEAKIN COLLECTION.
626 Chinese porcelain brush washer; green crackle glaze.
627 Chinese porcelain brush washer, mottled blue glaze;
lizard carved in relief.
628 Box, circular shape; yellow ground, with green clouds
and imperial dragon carved in relief. Seal mark,
Tai-Ming Wan-Leih.
629 Two Chinese wine cups; blue ground, with carved
decoration of plum and blossoms in white.
630, Miniature Chinese vase, sang-de-bauf glaze.
631 Chinese porcelain brush holder; finely painted in
various colors. Height, 3 inches.
632 Chinese vase, bottle shape; light green ground, with
black tracings ; elephant-head handles.
633 Chinese vase, pear shape, ribbed; rich glaze of sang-de-
6euf color; carved teak-wood stand.
634 Pair of Chinese snuff bottles, blue and white; dragon
and cloud decoration. Modern.
635. Pair of Chinese snuff bottles; yellow glaze, in imita-
tion of corn. Modern.
636 Pair Chinese snuff bottles, coral glaze, gold decoration.
Modern.
637 Chinese snuff bottle, Pekin glass, ornamented with
flowers carved in relief; blue glass stopper.
638 Chinese snuff bottle, Pekin white glass, with panels of
yellow; pink stopper.
639 Snuff bottle, white Pekin glass, floral design carved in
blue; red glass stopper. Keen-lung, 1736-1796.
640 Chinese snuff bottle, moss agate, with amethyst stopper.
641 Chinese snuff bottle, gray agate, streaked with lighter
shades; finely carved pink coral stopper.
FOURTH AFTERNOON’S SALE. 67
642 Chinese snuff bottle, white crystal, interior decoration
of landscape; red ivory stopper.
643 Chinese snuff bottle, bright yellow amber, with fine
amethyst stopper.
644 Chinese snuff bottle, rich dark amber; fine jade stopper,
silver mounted, and silver spoon.
645 Chinese snuff bottle, white Pekin glass, with red orna-
mentation carved in relief. Keen-lung, 1736-1796.
Has fine jade stopper.
646 Chinese snuff bottle, white jade, in form of miniature
vase; has carved lion-head handles; green jade
stopper.
647 Chinese snuff bottle, clear white crystal, polished in-
terior ; green jade stopper.
648 Chinese snuff bottle, white porcelain, with figure deco
ration. Taou-Kwang, 1822.
649 Chinese porcelain vase, bottle shape, “rainbow” glaze. .
650 Chinese porcelain box, square shape, fine yellow glaze,
pierced design ; cloud and dragons carved in relief.
Seal mark, Tai-Ming-Seuen-Tih. A rare specimen.
651 Chinese bowl and cover, eggshell texture, floral deco-
ration in fine colors of enamel. Seal mark, Kea-
King. |
652 Chinese vase, bottle shape, rose glaze, pierced design,
with dragons carved in bold relief, and glazed in
purple and green; has handsome carved teak-wood
stand.
653 Chinese white vase, ovoid shape, semi-eggshell texture ;
floral and vine designs finely carved and engraved in
relief; lion-head and ring ornaments. Height, 9
inches. Carved teak-wood stand.
68 THE H. DEAKIN COLLECTION.
654 Chinese vase, ovoid jar shape, rich red glaze, with deco-
ration of melon-vine in bearing, in finely combined
enamels. Height, 1oinches. Has carved teak-wood
stand.
655 Chinese vase, ovoid shape, ivory white soft paste, giant
pink crackle; engraved ornamentation under the
glaze. Height, 12inches. Yung-Ching period. Has
carved teak-wood stand.
oye Hawthorn ginger jar, pale blue clouded ground, with
branches of detached blossoms in white reserve.
Ring mark, Kang-He period. Has carved teak-wood
cover.
657 Chinese vase, bottle shape, fine ivory white texture;
ornament at the neck, with lizard carved in bale
relief. Height, 7 inches. Has carved stand.
AND,
Porcelain dish, fine ivory white texture; poem in-
scribed in centre of dish; carved stand.
658 Pair blue and white ginger jars, fine soft paste,
crackled texture; apg in blue of Chinese
garden scene, figures, etc. ; have carved-wood covers
and stands.
659 Perfume box, Cinnabar lacquer, exquisitely carved
with landscape view, diaper designs, etc. Exceed-
ingly fine specimen of Keen-lung period.
660 Pair perfume boxes, finest quality of Cinnabar lacquer ;
intricate and artistic carving of landscape view and
diaper patterns. Keen-lung period. 2 pieces.
€61 Cinnabar lacquer jardiniére ; arabesques, landscape and
figure vignettes carved in various layers. Height,
44 inches; length, 124 inches. Raised carved teak-
wood stand.
FOURTH AFTERNOON’S SALE. 69
662 Theatrical mask, carved wood; finished in lacquer.
663 Wood carving, cooper at work.
664 Specimen of old wood carving; box, with tools, shells,
etc., carved on cover.
665 Fine specimen of wood carving, two turtles; from Fine
Art Exhibition at Uyeno, 1892.
666 Wood carving, group of three life-like monkeys playing
game of go ban; a very fine specimen, full of ex-
pression.
667 Two specimens of Chinese money, used fifteen hun-
dred years ago.
668 Tobacco pouch and pipe holder, solid silver clasp, chain
and netsuke; handsomely carved.
66¢ Silver pipe, inlaid with gold.
670 Tobacco pouch, black leather; mountings and orna-
ment of repoussé and chased silver; netsuke of mask’
design in silver, shakudo, and gold.
671 Tobacco pouch, black leather; finely wrought silver
mountings and netsuke.
672 Silver cup, with stand; design of temple lamp, engraved
crest of Tokugawa.
673 Silver bowl, chrysanthemum design; Tokugawa’s crest
in relief; inscription beneath reads: “ This bowl was
made for Count Matsudia inthe year of the temple.”
Made by Huraki, 1824.
674 Silver box, engraved ornamentation of plum-blossom ;
cover surmounted by bamboo and plum-blossom in
relief. :
675 Tea jar, hammered silver; with fine repoussé ornamen-
tation; bamboo feet, and bird surmounting cover.
Height, 54 inches; diameter, 5 inches.
7O
THE H. DEAKIN COLLECTION.
676
677
678
679
680
681
682
683
684
685
686
Silver incense burner, repoussé and carved ornamenta-
tion; shakudo panels, with inlaid ornamentation in
silver and gold. Height, 6 inches; diameter, 34
inches.
Fine shibuichi sword guard, inlaid with gold and silver ;
has carved figure of Goddess Benten. On reverse
side, signature of Takon, famous sword-guard maker,
1800,
Sword guard of shida bronze, inlaid with gold and
silver; subject, Shoki, the demon slayer, after small
demon. Signed, Riokan.
Bronze sword guard; carved wave design, inlaid with
gold, covers both sides.
Bronze sword guard, ornamented with carved tree
design, and storks of solid silver. Signed.
Bronze sword guard, carved and inlaid with gold and
silver; storm scene.
Sword guard of shakudo, inlaid with gold, and carved
with figure of Bishamon, “God of War.” Signed
Tomonawo.
Sword guard of shida bronze, inlaid with gold and sil-
ver. Signed Saizai.
Shibuichi sword guard, inlaid with shakudo and gold.
Carved with plum-blossom, bamboo, and pine design.
Signed Hirochika.
Shibuichi sword guard, carved in form of serpent.
Signed Yoshitomo.
Bronze sword guard, inlaid with shakudo, gold, and
silver, carved with design of birds, trees, and grasses.
Signed.
No. 708. Ivory CARVING.
(16 inches high.)
FOURTH AFTERNOON’S SALE. Ph
687 Iron sword guard, inlaid with gold, silver, and shibui-
chi. Carved design of monkeys. Signed Fumi-
katsu.
688 Sword guard of solid silver, inlaid
with shida bronze and gold; has
carved figure of Newo, temple
guard. Reverse side, water scene,
Signed Yoshitsugu.
689 Plaque, oblong shape, hammered
iron, with relief ornamentation;
two crickets finely wrought in
shibuichi. By Shomin and signed.
690 Small tray, shibuichi and silver;
figure of sleeping demon and his
imp, in relief, in copper-bronze
shakudo gold and silver, engraved
figure of Shoki; subject of ornamentation, demon
dreaming of ‘*Shoki the Devil Killer.” An ex-
hibition specimen. By Mushashiya. From the Fine
Art Exhibition, Uyeno.
No. 689.
691 Perfume box, exquisitely wrought in shibuichi and sil-
ver, and inlaid with iris and grasses in gold and
silver. By Ippu. Uyeno Fine Art Exhibition.
692 Perfume box, shibuichi and shakudo; lid ornamented
with Japanese boating scene in relief, and inlaid with
gold and shakudo. Signed by Masatoshi. From
Fine Art Exhibition, Uyeno.
693 Fan-shape box, beautifully wrought in shibuichi and
silver; engraved and inlaid ornamentation in gold;
mandarin, ducks, grasses, and flowers.. Exhibition
specimen.. By Shomin. From the Fine Art Exhi-
bition, Uyeno.
——————
—
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72
DHE Hd. D PAKIN: COPEL CILON.
694
695
696
697
698
699
700
701
702
703
704
705
706
7°97
708
Life-size duck, skilfully wrought
in iron, used as incense burner.
Ivory carving, group of monkeys.
Ivory carving, children playing —
with toys.
Ivory carving, man and boy sell-
ing candy.
Ivory carving, man and octopus.
Ivory carving, candy maker.
Ivory carving, child with drum.
Ivory carving, figure of Chinese sage Kauran.
Ivory carving, old man cutting tobacco-leaf. Signed
Muneyori.
Ivory carving, old man trying to capture rat.
No. 694.
Ivory carving, devil carrying off the
temple bell. Signed Hoyetsu.
Ivory carving, Shoki, the demon
slayer. Signed Saiho.
Ivory carving, Daikoku and Fukuro-
kugin wrestling. Signed Muneyori.
Ivory carving, figure of priest Yuino-
Shonin, who belonged to a vegeta-
rian sect, and was forbidden to eat fish,
but who fished at night on the sly.
Signed Yasushide.
Ivory carving, girl carrying incense burner, and Chin
dog at her feet playing with cords. One of the
largest and most graceful ivory carvings ever seen.
Supposed to be the largest figure ever carved from
one single piece of ivory, measuring 16 inches in
height. Awarded medal at Tokyo Exposition, 1890.
Carved by Riomin, Tokyo. Signed. Has handsome
old gold and black lacquer stand. See illustration.
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LOURTH AFTERNOON’S SALE: 73
709 Ivory box, pomegranate design.
. 710 Enamel plaque, by the famous artist Namikawa Sosuke.
White and purple pigeons on a thatched roof, with
a background of tender sky blue. The rendering
of atmosphere is marvellous; even more so is the
texture of feathers, that give you all the half-tones
and high lights of nature and sunshine. Among the
very finest enamels in the collection—and hardly
surpassed by the two that follow.
711 Enamel panel by Namikawa Sosuke, in black and
gray ; design, acrow upon a bare bough, with cluster
of cherry-blossoms dropping in front of him ; beneath
him the gray brightens as by the coming up of the
sun. II x 14 inches,
712 Pair enamel vases; jar-shape mouths finished in sha-
kudo ground color, the gray of snow
clouds; decoration, ducks swimming
and fluttering through marsh reeds -
laden with snow. It is impossible
to put in words the truth, simplic-
ity, and artistic excellence of treat-
ment of these specimens, which
show the wonderful skill of the ar-
tist. Signed by artist Namikawa
Sosuke, Tokyo; have stands.
713‘Black satin kimona, lined with pink
silk, embroidered with gold thread;
bold dragon, tiger, and bamboo No. 712.
design.
714 Temple hanging, long panel; dragons and water
embroidered in gold threads and blue and white silk
on fawn-colored satin; has brocade border. 96
inches by 36 inches.
10
74 THE H. DEAKIN COLLECTION.
718 Elaborate temple- hanging, richly embroidered with
bold designs of dragons and other mythological
beasts, figure of deity in clouds, symbols and other
designs in finely combined colors relieved by gold,
on clouded gray ground; has brocade border. 108
inches by 72 inches.
716 Temple hanging, ground of needlework, waves and
clouds; embroidered design of warrior on _horse-
back swimming a stream; has brocade border. 60
by 87 inches.
‘EL.
ENAMEL PA
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FOURTH EVENING’S SALE.
718 Porcelain vase, clear white glaze. Decoration, dragon
in red and gray clouds. Height, 7 inches. By Ma-
kuza Kozan. Signed.
719 Porcelain vase, low bottle shape, dark brown _ glaze,
with dragon decoration. By Makuza Kozan.
Signed. .
720 Porcelain vase, light seiji glaze, upper part tinged
with red, and decorated with strongly drawn dragon.
Height, 64 inches. By Makuza Kozan.
721 Porcelain vase, melon-rind glaze. Height, 5} inches.
By Makuza Kozan.
722 Porcelain vase, shape of temple drum; rich dark glaze.
By Makuza Kozan.
723 Porcelain vase, “shades of evening,” with blossom
decoration under the glaze. Height, 83 inches. By
Makuza Kozan.
724 Porcelain vase, slender body, flaring mouth; dark gray
glaze, with pink cherry-blossom decoration. By
Makuza Kozan.
72% Porcelain vase, wide standard, with slender body and
flaring mouth; decoration, plum-blossoms in mist.
By Makuza Kozan.
726 Porcelain vase, shaded brown and red glaze, with dec-’
oration of leaves and blossoms seen underneath.
Height, 9g inches. By Makuza Kozan.
76 THE H. DEAKIN COLLECTION.
727 Porcelain vase, blue and white, after the old Chinese
hawthorn. Height, 113 inches.
728 Old Bishu porcelain fire pot, seiji glaze, ornamented
with flying dragons, carved under the glaze.
729 Magic water pot, in form of melon; fine crackle glaze.
730 Old Awata porcelain teapot.
731 Old Cochin-China teapot. Signed Sei.
732 Old Mikawachi teapot, Hotai, God of Wealth, and
’ money bag.
733 Old Kyoto porcelain dish.
734 Old Imari porcelain bottle, decorated in red and green.
735 Chinese porcelain vase, blue and white; landscape dec-
oration. 7# inches high.
730 Imari porcelain paper weight, in form of screen; blue
and white.
737 Old Ninsey teapot, crackle glaze, blue decoration.
738 Chinese porcelain incense burner, with silver rim ; floral
decoration in red.
739 Chinese dish, outer surface of dark blue glaze, with
floral decoration in enamels, under surface of green
glaze. Seal mark, Keen-lung.
740 Chinese cup, clear white porcelain; ornamented with
dragon design in medallions of rich green enamel.
Has seal mark, Taou Kwang.
741 Chinese porcelain incense box, clear blue and white.
Signed Kea-Ching.
742 Chinese porcelain vase, beaker shape ; bold crackle on
light gray ground. :
FOURTH EVENING’S SALE. 74
743 Small vase, Cochin China; rich green glaze, with panels
in purple, and carved design of flower in yellow;
bird-head handles.
744 Chinese vase, beaker shape; incised decoration of palm-
leaf under the white glaze. Seal mark, Ching-Hwa.
745 Chinese porcelain bowl, outer surface of brown glaze,
inner surface of purple glaze.
746 Bowl, mirror black ground, with floral design in green.
Seal mark, Keen-lung—1736.
747 Chinese bowl, mottled blue ground, with decoration of
dragon and clouds in white.
COLLECTION OF SATSUMA.
SPECIMENS BY YABU MEIZAN, ALL PAINTED UNDER
MAGNIFYING GLASSES, AND THE DECORATION PER-
rEeCT AN EVERY: DETAIL.
748 Satsuma koro, drum shape, surmounted by sacred lion:
body of koro entirely covered by chrysanthemum
design ; butterflies and chrysanthemums on cover.
By Meizan. Signed. Height, 23 inches.
749 Satsuma cup, bands of floral decoration on the outside ;
on the interior are 1,000 butterflies finely painted.
Signed.
750 Pair small vases, Satsuma, minutely painted ; decora-
tion, crépe banners hanging in front of Japanese
shops, figures,etc. By Meizan. Signed. Height, 3
inches.
751 Pair of small Satsuma vases; decoration, children at
play, flying kites; fifteen figures on each vase, faces
and costumes distinct. Signed:
oe i ee ee ee Se eee
78 THE H. DEAKIN COLLECTION.
752 Satsuma rose jar, square shape; decorated in four
panels with water scene, birds and flowers, summer
landscape and figures, and around top and cover are
minutely painted butterflies and chrysanthemums.
Signed. Height, 5 inches.
753 Pair of Satsuma vases, jar shape, with covers; land-
scape painting around base; encircling the body is a
band on which are painted festival scenes, with thirty
figures on each vase; band of floral design around
the upper part; covers decorated with 100 butter-
flies. Height, 5 inches. Signed.
754 Satsuma bowl; decoration, a wreath of chrysanthe-
mums entwining around the inner and outer surface.
Signed. Diameter, 4? inches.
755 Satsuma rose jar, six panels; decoration, scenes of the
different seasons and festivals; procession of court
ladies and attendants, 48 figures. Cover decorated
with butterflies, chrysanthemums, and _ dragons.
Height, 6 inches.
756 Gold lacquer box, round; decoration of octopus, lobster,
and fish in relief; fine specimen.
757 Inro, gold lacquer; 5 compartments; maple-tree and
mountain decoration. Ivory netsuke and coral slide.
758 Inro, black lacquer, with decoration of umiya (arrows),
kabuts (helmets), and umi (bow), in red lacquer and
heavy gold; highly finished. The netsuke is of zo-
koku carving, in shape ofalion. Date, 18th century.
759 Netsuke, carved cinnabar lacquer.
760 Netsuke, carved wood.
761 Netsuke, carved wood.
762 Netsuke, black lacquer.
763
764
765
766
767
768
769
77°
77%
772
FOURTH EVENING’S SALE. 79
Incense box, drum shape; carved Guri lacquer.
Perfume box, bird design, inlaid with mother-of-pearl ;
has lacquer stand.
Tray, irregular shape; landscape decoration in gold
lacquer on black.
Gold lacquer box, design of Japanese house.
Box, hexagonal shape, inlaid with lacquer and mother-
of-pearl.
Wood box, inlaid with wood, lacquer, and mother-of-
pearl.
Jar-shape lacquer box, with decoration of fishes in net
of gold lacquer on black.
Old gold Nashiji lacquer ceremony set, of twenty-one
pieces, each with the family crest of Daimio Maida,
who was ennobled in the year 1570. This set is guar-
anteed to be two hundred years old.
Kaga, or travelling litter, in gold lacquer, browned by
age, bound and panelled with richly wrought brass.
Formerly the property of Princess Mieseme, sister
to the Mikado reigning in the year 1640; figured all
over the roof and sides with the imperial crest. In-
side finished in black lacquer, gold-leaf painting, and
brocade. Windows of lacquered strips, filled in with
green-silk gauze. A rare and genuine antique.
Bronze koro, beautifully inlaid with gold and silver
‘“Zogan’’ work; in’numerous panels are landscapes,
mythological beasts, and other designs; the ground-
work is covered with exquisitely executed vines,
crest, and chrysanthemum flowers in precious metals,
inlaid. A masterpiece. By Komai. Height, 7%
inches.
80 THE H. DEAKIN COLLECTION.
773 Silver incense burner; figure of demon and dragon in
conflict ; skilfully wrought in solid silver by the
famous artist Setsusei. Arranged for a cigar lighter.
Procured at the Fine Art Exhibition at Uyeno.
774 Niyo, a temple gate guardian making sandals, wrought
from a solid piece of shida bronze. Made by Shoyu.
From Fine Art Exhibition, Uyeno. Has black wood
stand.
775 Kin-Gin-Bako (jewellery box); gold, silver, and sha-
kudo, with shibuichi combination, the shape repre-
senting a kabuto, or helmet; decorated with crests,
birds, and India grass, heavily inlaid on copper ; side
has decoration of butterflies and peony in various
colored metals. This style of workmanship is called
Zogan. Signed by artist, Masa-Akira, with his seal-
mark. Height, 2 inches; length, 63 inches; width, 4
inches.
776 Pair superb vases, graceful bottle shape, beautifully
wrought in shibuichi and silver, ornamentation in
relief, and inlaid with gold, copper, bronze, and sil-
ver; exquisitely wrought silver dragons for handles ;
subject of decoration from Japanese legend. Speci-
men of Mushashiya’s best work. Have stands to
match.
777 Superb vase, graceful ovoid bottle shape, with tall,
slender neck, skilfully wrought in silver and shibui-
chi; carved and inlaid ornamentation illustrating the
fable of “‘ Koi Fish Swimming up Falls.” A master-
piece of art in metal work. By Mushashiya.
778 Large imperial casket, iron; oblong shape, with curved
sides. Elaborately ornamented in relief, with chas-
ing and damascened gold in various tones. The de-
sign of one side consists of different species of chrys-
anthemums clustered closely together, with a centre
FOURTH EVENING’S SALE.
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82
THE H, DEAKIN COLLECTION.
panel of curved and indented form, in which are three
figures with musical instruments, and richly incrusted
damascened robes. The faces and hands are in sha-
kudo, and the drum, cymbals, and flute are inlaid in
shibuichi and gold. They are represented upon a
veranda. On the reverse panel, of shibuichi, there
are fish and water, and some floating foliage. The
fish are in bold relief, and are wrought in graceful
curves. One is in shibuichi and the other is in sha-
kudo. The two end panels have gold damascened
dragons with an arabesque field in low relief, and all
the panels have a running border of archaic design
with symbolical ornaments in gold. The feet are
formed of grotesque heads and archaic open-work.
The cover is ornamented with a dragon, only partly
shown through jagged and irregular openings of the
fret and diaper patterns. The top is surmounted by
Nio, the demon, holding aloft a globular incense jar,
on which is the warrior Shoki, whose face and beard
are in shibuichi, showing through a panel-formed
aperture. The reverse panel has a fleeing demon in
red bronze, and the remaining surface is covered in
diapered inlaying. The cover is in like design, and
is surmounted by a small bronze demon, seated and
watching the proceedings below. The interior of
the large cover shows an inlaid inscription. Interior
of casket is lined with silver. Height, 234 inches;
width, 23 x 124 inches.
779 Koro. By Namikawa Sosuke, Tokyo. Soft gray en-
amel decoration of stork and grasses in the mist ;
silver cover, carved by Kano-Natsuo.
780 Pair sleeve buttons, design of gold-fish and water plants
on pale blue enamel, representing water. The gold-
fish are carved by Kano-Natsuo, and built up, scale
by scale, on silver foundation; the enamel is by
Namikawa Sosuke; solid gold trimmings.
No. 785. ENAMEL PANEL, BY NAMIKAWA, SOSUKE.
_ FOURTH EVENING’S SALE. 83
781
782
783
784
785
788
789
790
Enamel box, pale blue ground; cherry-blossom deco-
ration, by Namikawa Sosuke. Signed.
Enamel box, bisque color, decoration of chrysanthe-
mum, by Namikawa Sosuke. Signed.
Pair small vases, ovoid shape; gray enamel ; chrysan-
themum flowers and plants exquisitely wrought in
silver wires and black, white, green, and yellow
enamels; rims at foot and mouth of fine shakudo.
Inlaid seal of Namikawa Sosuke. Height, 74 inches.
Pair enamel vases, ovoid bottle shape; gray clouded
ground, with iris and grasses in natural colors.
Choice specimen, by Namikawa Sosuke. Seal in-
laid. Shakudo rims at foot and neck. Height, 12
inches. .
Panel in shaded enamel, showing the full moon peeping
through mists, with a wild duck half life-size flying
across it; underneath, bamboo stalks indicate a
marsh; the bird is wonderfully spirited in pose, the
color and texture of feathers exactly indicated.
Height, 25 inches; width, 18 inches.
Snuff bottle, glass; mottled brown and white, with sil-
ver spoon, pink glass stopper.
Snuff bottle, coral-red pierced and carved decoration
of dragon and sacred bird, in high relief; yellow
porcelain stopper.
Snuff bottle, green glaze, carved decoration of gourd
vine ; red ivory stopper. Seal mark, Kauj-he, 1662-
Eves:
Snuff bottle, Pekin red glass; horses carved in relief;
green glass stopper. Keen-lung, 1736-1796.
Snuff bottle, brown agate ; green jade stopper.
84 THE H. DEAKIN COLLECTION.
791 Snuff bottle, old Pekin glass, blue ground, with carved
ornamentation in brown. Keen-lung, 1736-1796.
792 Snuff bottle, white Pekin glass, with carved decoration
show mark in red. Keen-lung, 1736-1796.
793 Snuff bottle, mottled agate; silver spoon and silver-
mounted jade stopper.
794 Snuff bottle, Pekin glass, with carved ornamentation in
blue-red stopper. Keen-lung, 1736-17096.
795 Snuff bottle, white jade, carved in relief; green jade
stopper.
796 Snuff bottle, composition, brown and black mottled;
green glass stopper.
797 Snuff bottle, crystal; carved lion’s head handles; pink
glass stopper.
798 Snuff bottle, moss crystal; yellow glass stopper.
799 Snuff bottle, agate gray and green mottled; green
jade stopper.
800 Snuff bottle, light amber green jade, and stopper.
801 Ten doctor’s sticks, carved and lacquered ; unusually
fine.
802 Pair very large enamel vases, five feet eight inches
high. By Gotoya. Ground color, the richest dark
red—a rare tint in enamel. One vase is decorated
with stems, leaves, and blossoms of the cherry-tree,
the pink flowers contrasting deliciously with the rich
ground tone. The other has plum-trees and blossoms
not less faithfully rendered, and not less effective in
their whites and grays, with tones of pink and black.
803 Temple hanging, 60x 72 inches; ground of silk floss
needlework, embroidered with dragon and ho-ho
bird, design. Has brocade border.
FOURTH EVENING’S SALE. 85
804. Temple hanging, 60 x 96 inches; ground of light-colored
needlework; on lower portion is embroidered design
of storks and flowers; in the centre, a peacock; and
above, dragons and storks.
805 Temple hanging, 60 x 96 inches; surface entirely covered
by needlework, representing clouds and water. Em-
broidered design of warriors on horseback, illustrat-
ing Japanese legend.
806 Temple hanging, 60 x 96 inches; ground of light gray
needlework, embroidered with temples and subjects
representing Chinese legends. Has brocade borders.
807
808
809
810
SII
812
813
814
815
816
817
818
819
820
821
822
823
824
825
FIFTH AFTERNOON’S SALE.
Six silver salt-spoons, bowls engraved and carved to
represent Japanese flowers and blossoms.
Another set of six salt-spoons, similar to above.
Another set of six salt-spoons.
Another, same.
Silver bonbon spoon, bowl carved in form of peony.
Another, similar to above.
Silver spoon, bowl carved in design of chrysanthemum.
Silver souvenir spoon, in form of Japanese musical
instrument shamtsen.
Another, similar in design.
Another, same.
Another.
Another.
Another.
Ivory carving, Daikoku making up accounts.
Ivory carving, dyer.
Ivory carving, man making musical instruments.
Ivory carving, old man making rope.
Ivory carving, man making kakemonos.
Ivory carving, fruit sellers.
26
827
828
829
830
831
832
833
834
835
836
837
838
839
840
FIFTH AFTERNOON’S SALE, 87
Ivory carving, monkey and snake.
Ivory carving, man sharpening saw.
Ivory carving, gardener.
Ivory carving, wood carver at work.
Ivory carving, street magician.
Ivory carving, man cutting rice grinding-stone.
Ivory carving, child with drum and mask.
Ivory carving, group of three figures: painting lesson.
Ivory carving, old man opening clam-shells.
Porcelain vase, yellow glaze; pierced design of grapes,
filled in with translucent enamel in natural colors.
A fine specimen. By Makuza Kozan.
Porcelain bowl, soft creamy glaze, with cherry-tree
decoration; blossoms pierced and filled in with
translucent enamel in delicate pink. By Makuza
Kozan.
Porcelain bowl, fine crackle glaze; design of maple-
leaves, carved and filled in under the glaze. By
Makuza Kozan.
Pair bishu porcelain vases, bottle shape, with flaring
~ necks, fine blue and white decoration. Height, 9}
inches.
Porcelain vase, tinted giant crackle glaze. From the
Tokyo Exposition, 1892. By Seyfu. Height, 12
inches. Has carved teak-wood stand.
Porcelain vase; decoration covering the surface, scroll
design in brown, and dragons in blue. Height, 15
inches. By Makuza Kozan.
88
THE H. DEAKIN COLLECTION.
841
842
843
844
845
846
847
848
849
Large porcelain vase, white glaze; decorated with
design of basket work and peonies.
Porcelain vase, blue and white hawthorn decoration.
Height, 16 inches. By Makuza Kozan.
Porcelain flower dish, shaded brown glaze with maple-
leaf decoration. Diameter, 12 inches.
Porcelain vase, bottle shape, with flaring neck; lower
part of body in blue, representing water, with orna-
mentation of flight of ducks. Height, 93 inches.
Signed Makuza Kozan.
Porcelain vase, in form of saki jar; ornamented with
saki boys, carved in relief; blossom and leaf decora-
tion. By Makuza Kozan.
Porcelain vase, white ground with cloud design in red
and brown; ‘God of the Wind” raising a storm.
Height, 12 inches. By Makuza Kozan.
Pair of enamel vases, body color soft gray, with chrys-
anthemum and cherry-blossom decoration. Height,
184 inches. By Morimoto, Nagoya.
Satsuma vase; decoration around body, view of the
coast of Lake Suma, the finest bit of landscape in
Japan; a group of figures encircles the neck. The
largest piece ever made by the artist. Height,
34 inches. One of the largest and finest produc-
tions of Meizan. Has carved teak-wood stand.
Satsuma bowl, chrysanthemum figure and butterfly
decoration. A band encircling outer body is painted
with scenes of Japanese life, 53 distinct figures ; 1,500
butterflies are painted upon inner surface. Signed
Meizan.
FIFTH AFTERNOON’S SALE. 89
850 Pair Satsuma vases; fan decoration around base; on
centre of body are 30 figures of children at study and
at play. Signed Meizan. Height, 5 inches.
ee eee
3st Imari porcelain brush-holder, delicate blue and white;
has carved design of pine- and cherry-tree.
852 Old Imari porcelain brush-holder, blue glaze, with
carved design of tree and blossoms.
853 Bishu porcelain brush-holder, blue and white, carved in
open design; pine-tree.
854 Bishu porcelain brush-holder, blue and white.
855 Fine old Imari cup stand, blue and white.
856 Old Imari cup stand, blue and white.
857 Old Imari porcelain -dish, blue and white. Diameter,
II inches,
858 Chinese porcelain dish, oblong; blue landscape deco-
ration,
859 Chinese dish (platter), blue and white.
860 Chinese porcelain vase, ovoid shape, landscape decora-
tion in blue, carved ornaments on side. Height, 1o
inches.
861 Old Kyoto porcelain vase, blue and white, landscape
decoration. Height, 12 inches.
862 Souvenir album of Japan; contains 50 fine photographs
of landscapes, figure subjects, views of historical
buildings, tombs, and celebrated places, all exqui-
sitely colored by native artists, handsomely bound
in rich Japanese brocade ; has fine fabric case, and an
extra tin case.
I2
gO
THE H. DEAKIN COLLECTION.
863
864.
865
866
867
868
869
870
871
872
873
874
875
Two fine lace handkerchiefs, one of silk and one of
thread lace.
Pair of old Chinese embroidered sleeve trimmings;
floral and butterfly design, finely embroidered in blue
on light-colored satin ground.
Pair of sleeve trimmings, embroidered in colored silks
and gold thread, on light blue crépe.
Pair of sleeve trimmings, light green satin ground,
embroidered with flowers and butterflies.
Pair of sleeve trimmings, rose-colored crépe, embroid-
ered with gold thread.
Pair of sleeve trimmings, light yellow crépe, embroid-
ered floral design in blue and white.
Pair of sleeve trimmings, blue crépe; embroidered
design, peonies and butterflies.
Pair of sleeve trimmings, pale yellow satin, embroid-
ered floral and butterfly design in various colors.
Pair of sleeve trimmings, blue satin, embroidered in
gold thread.
Pair of sleeve trimmings, pale green satin, embroid-
ered in. colors.
Pair of sleeve trimmings, blue satin, embroidered with
floral and butterfly design.
Pair of sleeve trimmings, blue crépe, worked with gold
thread.
Square of rich green brocade satin, centre embroidered
with crest, done in gold thread. Has backing of
fine old brocade.
FIFTH AFTERNOON’S SALE. gI
876 Square of embroidery, ground of needlework, done in
gray silk thread, embroidered with design of stork,
turtle, and flowers, in gold thread and colored silks.
877 Temple hanging, ground of needlework, done in pearl
gray silk, embroidered with Chinese subject.
COLLECTION OF OLD JAPANESE GOLD AND
SILVER MONEY.
878 Silver Ingai Koshiu oban, 557 years old.
879 Silver Bunji Hanafuri oban, 282 years old.
880 Silver Tyco Ieyasu, 350 years old.
881 Silver Hojo oban, 320 years old.
882 Silver Tensho oban, 380 years old.
883 Silver Kamakura oban, 720 years old.
884 Silver Keicho Hanafuri oban, 282 years old.
885 Silver Dainoji Koban, 7i1 years old.
886 Silver Juiya kin oban, 711 years old.
887 Silver Rymon oban, 330 years old.
888 Silver Kaga kacho oban, 296 years old.
889 Silver Tensho Daibutzu oban, 322 years old.
890 Silver Bunji Hanafuri maru gin oban, 289 years old.
891 Silver Momoisi oban, 569 years old.
892 Silver Kansai yokin, 300 years old.
893 Silver Rymon koban, 330 years old.
Q2
THE H. DEAKIN COLLECTION.
894
895
896
897
898
899
goo
gol
go2
903
904
905
go6
907
908
909
g10
gil
gI2
913
Silver Koshiu oban, 580 years old.
Silver Tsuragawa koban, 250 years old.
Silver Odawara shi-shi koban, 340 years old.
Silver Ichizen star koban, 200 years old.
Silver Akita gin koban, 120 years old.
Silver Akita gin koban, 85 years old.
Silver Akita gin koban, 120 years old.
Silver Odawara shi-shi koban, 200 years old.
Silver Ichizen star koban, 210 years old.
Silver Memasake kiku koban, 400 years old.
Silver Akita gin koban, 120 years old.
Silver Odawara kiku koban, 340 years old.
Silver Oiso ojo koban, 400 years old.
Silver Nara Daibutzu oban, 370 years old.
Bunji gin, 208 years old.
Manrio, 80 years old.
Gold Go Rio, Tempo period, 67 years old.
Gold Go Bun koban, 300 years old.
Gold Onoji koban, 307 years old.
Gold Onoji kin koban, 80 years old.
914 Gold Go Rio, Tempo era, 67 years old.
915
Gold Nee Bo kin, 80 years old.
916 Gold Neshi kin, 250 years old.
FIFTH AFTERNOON’S SALE.
. 917 Gold Ishi kin, 370 years old:
— gI8 Gold Ichibo kin, 400 years old.
919 Gold Ishi kin, 370 years old.
_ 920 Gold Neshi kin, 80 years old.
. —g2i Gold Ishi kin, 120 years old.
_ 922 Gold Ichi yen (one dollar), present date.
FIFTH EVENING’S SALE.
COLLECTION OF TEN EXHIBITION PIECES. BY
MAKUZU KOZAN. THE CHOICEST EVER
BROUGHT TO AMERICA.
924 Porcelain vase, slender bottle form ; clouded white and
red glaze; decorated with trailing branch of cherry-
blossoms. Height, 9 inches. Has carved teak-wood
stand.
925 Porcelain vase, form of lotus bud, carved in the bis-
cuit, basket-work design, meshes gradating in size
from centre body to shoulder and base; the medall-
ion panels decorated with dragon design in sepia
red. Height, 8 inches. Has carved wood stand.
926 Porcelain vase, bottle shape, red and white glaze, with
carved decoration of dragon and waves. Height, 9
inches. Has carved wood stand.
927 Porcelain vase, bottle shape, powdered blue glaze;
decorated with boldly drawn copper-colored dragon.
Height, 9 inches. Has carved wood stand.
928 Porcelain vase, decoration, “ shades of evening,” with
dragon in clouds. Height, 84 inches. Has carved
wood stand.
929 Porcelain vase, low bottle shape, peach-tint glaze,
remarkably even and smooth, with carved design of
dragon underneath. Height, 6 inches. Has carved
wood stand.
FIFTH EVENING’'S SALE. 95
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
Porcelain vase, soft green glaze, mottled with markings
of white. Height, g inches. Has carved wood .
stand.
Porcelain vase, peach glaze, decorated with cracked
design and blossoms. Height, 8 inches. Has teak
wood stand.
Porcelain vase, slender bottle shape; soft, light green
glaze, with decoration of plum blossoms in delicate
pink. Height, 9 inches. Has carved wood stand.
Porcelain vase, ‘‘ Rosy Dawn,” with dragon decora-
tion. Height, 10 inches. Has carved wood stand.
Hirado porcelain incense burner, clear blue and white,
with cover in lace work design.
Hirado porcelain incense burner, in form of No
dancer’s hat; decoration in blue and brown, with
pierced work cover.
Porcelain vase, clear blue and white; landscape decora-
tion. By Seyfu, signed.
Porcelain vase, white glaze, with decoration in blue.
By Seyfu, signed.
Bishu porcelain teapot, floral decoration in blue.
Old Kyoto porcelain vase, fine blue and white.
Old Bishu porcelain vase, fine floral design in blue.
Old Bishu porcelain bottle; decoration, net work in
blue.
Old Imari porcelain dish, in form of Japanese well
box; blue and white.
Old Imari porcelain incense box, blue and white.
Old Bishu porcelain box, blue and white.
Old Kyoto porcelain tea-caddy, blue and white.
96 THE H. DEAKIN COLLECTION.
946 Old Yeraku tea-caddy, blue and white.
947 Old Imari dish, half gourd shape, decoration in fine
blue.
948 Old Imari porcelain dish, blue floral decoration.
949 Old Japanese clock, made by the Dutch at Nagasaki
200 years ago. Contains music box.
gs0 Old Japanese clock, A rare specimen.
gst Miniature Japanese wall clock. Exceedingly fine
workmanship.
952 Old Japanese wall clock.
953 Another.
954 Another.
955 Sets of four old bronze ornamental nail heads. Used
in temples.
986 Carved bronze turtle. Paperweight.
957 Another, smaller.
58 Pair of miniature swords, black and gold lacquered
scabbards, solid silver tsubas and trimmings, inlaid
and carved.
959 Old pistol in black lacquer sheath.
960 Doctor’s stick, handsomely carved; contains box for
holding writing brushes.
961 Dagger; length of blade 10 inches, finely-carved hilt ;
scabbard, tsuba, and kodzuka, of iron, inlaid with
dragon design.
962 Dagger; length of blade 10 inches, double-edged and
finely carved ; scabbard and hilt of wood.
963 Knife; sheath of wood, carved to represent dragon.
964 Another, similar to above.
FIFTH EVENING’S SALE. 97
Knife, in black lacquer sheath.
Knife, in carved wood sheath, with metal trimmings
and mountings.
Knife, in carved wood sheath.
Knife, in lacquered sheath.
Knife, in carved wood sheath.
Knife, in carved wood sheath.
Elaborate temple sword ; double blade, plain wood hilt
and scabbard,
Kakemono, Mandara temple hanging, 350 years old,
beautifully painted on silk. Has 167 figures of the
1,000 Kannon, each inscribed with names. 84 feet
long; width, 6 feet.
Ivory carving, old man cutting wood.
Ivory carving, old man and fish.
Ivory carving, child with mask.
Ivory carving, child writing.
Ivory carving, thread makers.
Ivory carving, tub maker.
Ivory carving, wood chopper.
Ivory carving, Hotai, god of wealth.
Ivory carving, child playing with dog.
Ivory carving, clog maker.
Pekin glass snuff bottle, pale green with red stopper.
Chinese snuff bottle, white porcelain, with dragon and
cloud decoration in red.
Chinese snuff bottle, white Pekin glass, with carved
ornamentation in blue; red ivory stopper.
13
\}
1
'
98 ‘THE H. DEAKIN COLLECTION.
986 Chinese snuff bottle, green and white jade; amethyst
stopper.
987 Chinese snuff bottle, red agate, melon design, vine
decoration carved in relief; green jade stopper.
988 Chinese snuff bottle, carved amethyst, silver mounted ;
green jade stopper.
989 Chinese snuff bottle, milk white jade, with fine green
jade stopper. '
g90 Snuff bottle, light colored agate, with carving, in relief,
of pine tree and horse design ; fine green jade stopper.
991 Snuff bottle, crystal; carved ornamention of pine trees.
Has amethyst stopper.
g92 Snuff bottle, brown mottled agate, with green jade
stopper.
993 Snuff bottle, rose colored crystal, with pearl stopper.
994 Snuff bottle, imperial jadeite or Fei-tsui, emerald green
with white streaks, branch of plum-blossoms, bird
and bamboo branch cut in low relief; coral stopper.
g95 Pair snuff bottles, imperial jadeite or Fei-tsui, deep
emerald green tint, with slight markings of a darker
shade, simple ornamentation of branch of plum-
blossoms carved in low relief. Both bottles are beau-
tifully polished.
g96 Pair snuff bottles, imperial jadeite, called Fei-tsui, em-
erald green color, of exceedingly fine quality ; finely
polished surface.
997 Pair snuff bottles, imperial jadeite or Fei-tsui, of ex-
ceedingly rare quality; emerald green tint with dis-
tinct dark markings.
g98 Pair snuff bottles, imperial jadeite, called Fei-tsui,
beautiful shade of green. Specimens of great rarity
and purity.
FIFTH EVENING’S SALE. 99
999 Enamel box, square; soft light blue enamel; decora-
tion, moonlight, with crow seen perched on branch of
a tree. By Namikawa Sosuke, Tokyo. Has inlaid
signature.
1000 Enamel box, square; gray ground with stork and
lotus leaf decoration. By Namikawa Sosuke. Signed.
1oo! Enamel cigarette holder, gray ground with water
plants and fish decoration. By Namikawa Sosuke.
1002 Enamel plaque, gray ground color, shading into tones
of yellow; decoration, two storks; finished with fine
shakudo. By Namikawa Sosuke. Signed.
1003 Enamel plaque, stork and lotus-leaf decoration. By
Namikawa Sosuke, Tokyo.
1004 Wood carvings, Aino dancers (the aboriginals of
Japan), dancing for saki, Executed fifteen years
ago. The work of the famous Yasuyoshi.
1005 Daimio’s cloth coat, double cape; lower cape in red,
sacred turtle, embroidered in gold, green, and white ;
upper cape of white. Crest of Daimio Sasaki in
black appliqué.
1006 Temple hanging, 44 x 7 feet, ground of gray needle-
work; embroidered with figures, floral designs, and
birds; figure of man on turtle of long life, at lower
edge, wrought in gold thread and colored silks; has
blue brocade border.
1007 Temple hanging, 5 x 8 feet, ground of needlework
done in brown silk thread; in the centre a large
design of peacock; storks and rich floral design em-
broidered on lower portion.
1008 Temple hanging, 5} x7 feet, ground of gray needle-
work, embroidered with dragons and medallions of
Tokugawa crests. |
TOO THE H. DEAKIN COLLECTION.
1009 Temple hanging, 5 x 7 feet, ground of light-colored
needlework, embroidered with Shishi (sacred lion)
_and peonies; has brocade border.
1010 Bronze koro, 173 feet high. Arranged fora fountain
and electric light.’ Standard, carved with mytho-
logical subjects, supporting an urn-shaped vase,
which forms the body of this grand piece, carved
with scenes representing old Japanese legends ;
dragons form the handles. Out of the urn a column
of water shoots upright, about which is coiled another
dragon, supporting a globe. (See illustration.)
Z
No. roro. BRONZE LAMP AND FOUNTAIN.
(Height, 17% feet.)
‘SIXTH AFTERNOON'S SALE.
1011 Porcelain vase, temple drum shape, light green glaze
at base, shading into delicate pink. Decoration of
maple leaves, carved and filled in under the glaze.
By Makuza Kozan.
1012 Porcelain vase, ‘“‘shades of evening” and dragon deco-
ration. By Makuza Kozan.
1013 Porcelain vase, delicate blue and gray mottled glaze.
Height, 6 inches. By Makuza Kozan.
1014 Porcelain vase, “ Rosy Dawn,” with decoration of
dancing skeletons.. By Makuza Kozan.
1015 Porcelain vase, fish and basket work decoration, in
blue and brown.
1016 Porcelain vase, “Rosy Dawn,” with decoration of
festival of the foxes.
1017 Porcelain vase, bottle shape, red and gray mottled
glaze. By Makuza Kozan. Signed.
1018 Porcelain vase, brown and blue glaze; decoration,
conflict of the dragons.
1019 Porcelain vase, bottle shape, mottled peach tint.
Height, 6 inches. Signed Makuza Kozan.
1020 Porcelain vase, mottled blue glaze. Height, 8 inches.
By Makuza Kozan. Signed.
1021 Porcelain vase, around the base soft green glaze, with
floral decoration; glaze on upper body and neck
mottled red. Signed Makuza Kozan.
102
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
THE TH. DEAKIN GOLLECTION.
Porcelain vase, long slender body, widening toward
the neck, ‘shades of evening’”’ with dragon in deep
clouds. Height, 14 inches. Signed Makuza Kozan.
Porcelain vase, delicate seiji glaze, with finely carved
floral design in white. Height, 10 inches. Signed
Makuza Kozan.
Porcelain vase, blue and white. Height, 11 inches.
Porcelain vase, figure and landscape decoration after
the Chinese. Height, 11 inches. Signed Makuza
Kozan.
Finely carved agate netsuke.
Netsuke, wood carving representing man carrying
giant pumpkin.
Netsuke, carved lacquer.
Netsuke, carved red lacquer.
Netsuke, carved wood.
Netsuke, Dog Foo carved in agate.
Netsuke, in form of gourd, carved lacquer and silver
mounted.
Netsuke, carved agate.
Netsuke, wood carving.
Netsuke, rock crystal.
Netsuke, rock crystal.
Netsuke, carved red lacquer.
Netsuke, carved red lacquer.
Netsuke, in form of gun.
Netsuke, blue and white porcelain.
Netsuke, porcelain painted.
SIXTH AFTERNOON’S SALE. 103
1042
1043
1044
1045
1046
1047
1048
1049
1050
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
IO61
1062
Netsuke, porcelain.
Netsuke, shell shape, porcelain.
Netsuke, porcelain.
Ivory carving, mask-maker.
Ivory carving, man having tea.
Ivory carving, wood chopper.
Ivory carving, mask-maker.
Ivory carving, street magician.
Ivory carving, clog-maker.
Ivory carving, wood carver.
Ivory carving, old man and snake.
Ivory carving, child with drum.
Ivory carving, mask-maker.
Chinese porcelain snuff bottle, blue and white.
Chinese snuff bottle, gray jade, pink crystal stopper.
Snuff bottle, white Pekin glass, decorated with carved
panels in red; green jade stopper. Keen-lung, 1736-
1796.
Snuff bottle, clear dark amber; carved. lion-head
handles.
Snuff bottle, light-colored agate; carving of fisherman
in boat, in darker shade of brown; pink stopper.
Snuff bottle, white Pekin glass, carved ornamentation
in blue; silver spoon and silver-mounted stopper.
Keen-lung, 1736-1796.
Snuff bottle, white crystal; red ivory stopper.
Snuff bottle, Pekin glass, blue decoration carved in
relief; red ivory stopper. Keen-lung, 1736-17096.
104 THE H. DEAKIN COLLECTION,
1063 Snuff bottle, gray agate; fine green jade stopper.
1064 Snuff bottle, light yellow amber ; red ivory stopper.
1065 Snuff bottle, light yellow Bde melon shape; coral
branch stopper.
1066 Snuff bottle, red agate, carved melon and vine
design.
1067 Snuff bottle, white jade carved, melon shape; coral
branch stopper.
1068 Snuff bottle, white crystal, carved with dragon design ;
green jade stopper.
1069 Snuff bottle, white crystal; green jade stopper.
1070 Snuff bottle, clear crystal, polished interior, carved
lion-head handles.
1071 Snuff bottle, white crystal, carved handles; fine green
jade stopper.
1072 Snuff bottle, mottled agate.
1073 Snuff bottle, dark green jade; green stopper.
1074 Snuff bottle, carved crystal silver spoon and silver
mounted coral stopper.
1078 Snuff bottle, white crystal, carved ornamentation of
trees, etc.; crystal stopper.
1076 Snuff bottle, moss crystal; pink glass stopper.
1077 Perfume burner, sage-green maori stone, carved in
Japan.
1078 Pair enamel vases; shaded blue-gray ground with
floral design in white, blue, pink, purple, and green
enamels, all worked with gold wires; shakudo rims
at neck and base. Height, 74 inches. By Namikawa
Sosuke, Tokyo.
~*~
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SE SE ERE ESSELTE TS OS RESET
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SIXTH AFTERNOON'S SALE. 105
1079 Pair vases, decorations of plum-blossoms, white on
dove-gray ground, shakudo rims at neck and base.
Height, 7 inches. By Namikawa Sosuke, Tokyo.
1080 Panel, 20 incnes by 14; magnificent enamel, by
Namikawa; won medal at Paris Exposition. It
shows a misty morning on Lake Biwa, and renders,
with fidelity truly wonderful, the effect of misty
skies drooping down to pale water, with dark moun-
tain tops peering through.
1081 Panel, 20 inches high by 12 broad; something wholly
unique in enamels. Imitated from a very old
kakemono, whose peculiar yellow-gray it faithfully
reproduces. Design, a blossoming cherry-tree in
mist. —
1082 Old Kutani porcelain saki bottle; decorated in red
and gold. Fine specimen.
1083 Old Kenzan porcelain teapot, floral decoration.
1084 Old Mikawachi water bottle. Figure of Hotai, God
of Wealth, and money bag.
1085 Old Nabashima incense burner, with carved metal
cover; soft seiji glaze, blue decoration, bamboo
design, and imperial crests in gold.
1086 Old Ninsei incense burner, crackle glaze, floral decora-
tion in enamels.
1087 Old Satsuma tea jar, green crackle glaze, with blue
enamel flowing from top; has ivory cover.
1088 Old Bizen saki bottle, shaded brown earthenware.
108g Rokube porcelain incense burner; design of gourds
carved in relief, and leaf decoration in colored
enamels.
1090 _Kiyomidzu cup, 90 years old.
14
106
THE H. DEAKIN COLLECTION.
IOgI
1092
1093
1004.
1095
1096
1097
1098
1099.
1100
TIO!
I 102
1103
1104
1105
1106
Kinkozan incense burner, fine crackle glaze ; decorated
with design done in enamels.
Old Kyoto incense burner, crackle glaze, blue decora-
tion; has carved ivory cover.
Old Kinkozan cup, fine crackle glaze; decorated with
Tokugawa crests in black.
Old Ninsei cup, with enamel floral decoration.
Old black Satsuma cup; Satsuma mark at base, inside.
Hirado porcelain cup, fine blue and white; has im-
perial crests.
Old Hirado porcelain cup, clear white texture, with
Tokugawa crests in blue.
Old Imari porcelain bowl, blue and white decoration.
Old Awata dish, fine crackle glaze, with enamel leaf
decoration. °
Pair of old Hirado porcelain incense boxes; clear blue
and white. Inscription on base reads, ‘‘ Made for
Daimio Shitachi.”
Old Kenzan jar, with lacquer cover.
Old Satsuma incense burner, exceedingly fine texture,
finely painted floral decoration.
Antique Chinese vase, imperial yellow glaze, deco-
rated with ornaments and symbols in deep brown.
Kang-hy period.
Chinese porcelain vase, decoration of dragon in peach
tint, on white ground. Seal mark, Kang-He. Has
carved wood stand.
Small Chinese porcelain vase, bottle shape, tube
handles, blue decoration. Seal mark, Keen-lung.
Antique Chinese porcelain teapot, Persian shape,
decorated in deep red, green, and other enamels.
SIXTH AFTERNOON’S SALE. 107
1107
1108
1109
LiLo
II1l
TL12
1113
III4
IIIS
1116
1117
Chinese porcelain bowl, bright blue glaze, with dragon
and cloud decoration.
Chinese bowl, black ground, with floral decoration in
green. Seal mark, Keen-lung.
Antique Chinese sacrificial cup, peach design, glazed
in natural colors. Keen-lung period.
Pair egg-shell wine cups, Chinese porcelain; finely
decorated in deep blue, with plum tree in blossom ;
inscription, etc., beneath glaze. Yung-Ching period.
Two pieces,
Chinese cup and saucer, light green glaze; finely in-
cised pattern under the glaze, with floral decoration
in colored enamel; character “long life’’ on saucer.
Seal mark, Keen-lung.
Pair Chinese porcelain bowls, rich coral-red glaze,
with bamboo branches in white reserve. Choice
specimens of Keen-lung period. Two pieces.
Pair saucers, old Chinese, imperial yellow glaze, with
emblems and inscriptions in gold and bright enamels.
Two pieces.
Pair Chinese wine cups, semi-eggshell texture, coral-
red glaze, with vine decoration in gold applied over
the glaze. Keen-lung period. Two pieces.
Imari porcelain jar, with handle; has black lacquer
cover.
Temple hanging, dark blue centre, five dragons in
gold and. silver needlework, boldly designed; has
brocade border. 5 feet square.
Temple hanging, embroidered on dark blue satin,
5 x 7 feet. Large dragon in red and gold, coiling
through clouds in gray and white. Waves at the
lower part; has brocade border.
———————————e aa eaeEE ee Ease
108
THE H. DEAKIN COLLECTION.
1118 Temple hanging, 5 x 7 feet; ground of solid needle-
1119
II20
EI21
work; across the lower portion is a screen design ;
four panels, finely embroidered ; has brocade border.
Temple hanging; ground of needlework in fawn color
silk thread, embroidered with figures and birds in
colored silks and gold thread.
Porcelain vase, cylindrical form, slightly flaring
mouth; soft gray glaze, with plum-blossom decora-
tion. Height, 64 inches. An exhibition piece. By
Makuza Kozan. Has carved wood stand.
Porcelain vase, long neck, rich red glaze, peony deco-
ration. Height, 74 inches. By Makuza Kozan.
Signed. Has carved wood stand.
Porcelain vase, long neck, white glaze, with band
around the body, decorated in rich blue and brown.
Height, 7 inches. By Makuza Kozan. Has carved
wood stand.
Porcelain vase, rich red and green glaze, stork deco-
ration. By Makuza Kozan. Has black wood stand.
Porcelain vase, bottle shape; rich red and white glaze.
By Makuza Kozan. Has carved wood stand.
Porcelain vase ; decoration of moonlight, and geese on
the wing. Height, 8 inches. By Makuza Kozan. Has
carved teak wood stand.
Porcelain vase, surface covered by decoration in blue
and brown. Height, g inches. By Makuza Kozan.
Has carved wood stand.
Porcelain vase, ‘‘ Shades of Evening,” with dragon in
clouds. Height, 8inches. By Makuza Kozan. Signed.
Has carved wood stand.
Porcelain vase, jar-shape; red glaze, with decoration
of plum blossoms underneath. Height, to inches.
By Makuza Kozan. Has carved wood stand.
1130
PF3.1
1132
1133
1134
1135
1136
1137
1138
‘1139
1140
114!
1142
SIXTH AFTERNOON’S SALE. 109
Porcelain vase, yellow glaze; decoration of dragon,
done in blue. Height, 1oinches. By Makuza Kozan.
Signed. Has carved teak wood stand.
Short sword, length of blade fifteen inches; scabbard
of black lacquer, carved and inlaid; tsuba and trim-
mings of bronze; has kodzuka and chop-sticks.
Knife, in carved wood sheath.
Short sword, in wood scabbard, carved and lacquered
in imitation of bamboo; bronze inlaid tsuba.
Short sword, in bamboo sheath.
Short sword, sheath covered with plaited and lacquered
bamboo; bronze ornaments.
Short sword, corrugated blade, carved wood sheath,
bronze ornaments.
Short sword, in carved red lacquer sheath, bronze
ornaments.
Short sword, in wood sheath carved with designs of
monkeys and serpents.
Short sword, corrugated blade, hilt of iron, inlaid,
sheath of black and gold lacquer, bronze ornaments,
Knife, in carved and inlaid wooden sheath.
Hachiwara (helmet crusher), in black and red lacquer
sheath.
Hachiwara (helmet crusher), in carved black lacquer
sheath. Inscribed ‘“‘Made by Guro Masamune in
Genko era (about 400 years ago). Owned by the
famous warrior Masashige.”
Pair of miniature swords, black and gold lacquer scab-
bards, solid silver tsubas and mountings.
LUO: THE H. DEAKIN COLLECTION.
1143 Bronze mirror, black and gold lacquer easel, black
lacquer case for mirror.
1144 Iron plaque, circular shape, entire surface covered
with gold inlaying ; circular panel in centre has land-
scape and water scene, showing old temple, tree, and
junks; around this panel is a band of silver, separat-
ing a border of chrysanthemums which is edged by
another band of silver in scalloped pattern, and sur-
rounded bya fine diaper design; a broad band of
gold finishes the outer edge. Made by Okuno. Sig-
nature in gold.
1143 Temple tapestry, ground of light-colored needlework ;
embroidered banner design on lower part, sacred
bird at top, and bright colored leaves in the centre.
1146 Temple hanging; water, clouds, and dragons embroid-
ered on brocade ground; upper panel of needlework,
with Ho-o bird in gold ; brocade border, and repoussé
brass mountings. 98 inches by 60 inches.
1147 Palace hanging; light blue satin needlework ; ornamen-
tation in gold thread and colored silk; five Chinese
sages in bamboo grove, flying storks, clouds, and
other designs; brocade border, repoussé brass mount-
ings. 90 inches by 60 inches.
1148 Rich temple hanging; Ho-o bird in centre, spreading
plumage, with dragons, tiger, and mythological
beasts in corners, all embroidered in silk and gold
thread on dark blue satin; brocade border, repoussé
brass mountings. 96x 63 inches.
1149 Elaborate temple hanging; dark blue satin, with rich
design of imperial dragons, Ho-o birds, water, clouds,
symbols, and golden sun embossed in gold thread
and various colors of silks; brocade border and
repoussé brass mountings. 96 inches by 66 inches.
“VUOWIHSI
N Ad
Cusiy ‘sayour 2 ‘yaay %12z)
MUOMATAGAAIN NI HOUICUALSVIL V
‘NADYOS
ALVYOIVTA
SIXTH AFTERNOON’S SALE. 16
1150 Elaborate temple hanging, illustrating Chinese legend ;
equestrian and other figures, bold dragon, birds,
water, and other designs embroidered in richly com-
bined colors and gold- thread; brocade. border,
repoussé brass mountings. 108 inches by 66 inches.
1151 Elaborate temple hanging; dark blue satin, dragons
and clouds embroidered in gold threads and various
colored silk; brocade border with vrepoussé brass
ornaments, and silk cords and tassels. g6x 66 inches.
1152 Gold lacquer cabinet, 9 feet 6$ inches high, and 5 feet
2% inches wide, and is sustained by six figures of
imps. The general design of the upper part is taken
from the-famous temple at Nikko. On each one of
the lower steps, and on the planks of the portico, are
painted the minute grains of wood in gold, and on
each step that leads to the holy of holies, golden
dragons are vividly represented. Each panel is
decorated with exquisite ivory carvings, fastened
with wires, or figures of embossed lacquer. The
ceiling is divided into numerous compartments,
every one of which is beautifully decorated with
flowers, no two having the same blossom. The roof
and the beams have a large number of crests in pure
gold. The knobs on the posts of the balustrade, the
bells hanging from the corners of the roof, and the
edge of each panel, are of pure silver. The cabinet
presents in its panels and other parts, specimens of
every kind of the best gold-lacquer work, comprising
Kinjt, Nashit, Hirame, Takamakiye, etc. Entire
frame work of Shitan wood. (See illustration.)
1153 Solid screen of black satin, 11 feet long, 7 feet high.
Heavy black lacquer frame, inner mat of gold brocade.
The entire screen forms the most wonderful piece of
needle-painting, picturing the rapids of Arashiyama,
near Kyoto. Five feet away, the eye can hardly
THE H. DEAKIN COLLECTION.
credit that it is not resting upon work of the brush,
so tenderly, so truthfully, with such wonderful ren-
dering of light and shade, has the needle wrought in
the hands of these master craftsmen. Leaves in the
foreground, massy shadows of rock, the distant moun-
tains, the melting sky above, have each and several
their own especial excellence of treatment. Not less
so has the darting, boiling water, with boats and
boatmen tossing on its tide. The color scheme is
exquisitely restful, and as true to the life as if the
workers had dipped their silks in the hues of sky
and water and green swelling hills; the reverse side
is decorated by finely painted designs, water-scene,
ducks, willow-tree, etc, on background of applied
gold.
UNDER REVISION.
CATALOGUE
OF A COLLECTION OF
JAPANESE KAKEMONOS
ON EXHIBITION AT.
MESSRS. DOWDESWELL’S GALLERLES,
5
a
fo
hell
160, NEW BOND STREET, LONDON,
1988,
PREFACE.
HIS collection of Japanese Kakémonos was formed by a
gentleman who was not only possessed of considerable
artistic taste and judgment, but who had been resident in
Japan since the opening of the country to foreign intercourse.
It took hima great many years to form this complete and
representative collection of about twelve hundred Kakémonos,
the signatures and seals of which have been attested by the
best experts in Japan; and it is to be regretted that the collec-
tion is not to be purchased by a museum, so as to be preserved
in its entirety.
In addition to the beauty of the Gd aa! the rich brocade
mountings, which are always harmoniously conceived, are
worthy of close attention. In many instances, paintings and
brocade-mount form one organic whole, so synipathetic are the
relations existing between them. In most cases the old mounts
have been preserved, but there are a few instances where great
age has necessitated new brocades.
It is a matter for congratulation that the aid of Mr. M
Kataoka, the well-known Japanese expert, now resident in
London, has been secured in compiling the exhaustive Cata-
logue, and in verifying the seals and signatures.
DOWDESWELL & DOWDESWE LLS.
160, New Bonp Street, Lonpon, W.
May, 1888.
it (Se Ces sh Weve
HAVE been requested to go through the collection of
Kakémonos and to examine the seals and signatures of
each. This I have done, and I feel fairly confident that in
these particulars the collection may be regarded as reliable.
The time at my disposal was, however, very limited, and some
points may possibly have escaped my attention.
Some 1,200 pictures have had to be examined, and it is a
matter of regret that only about one-half can be exhibited and
catalogued at the present time. In order to keep the present
Catalogue within reasonable limits, and to get it printed in
time, I have had to pass very lightly over the subjects of the
pictures and the ideas the artists wish to express in their works,
but amateurs will find such information very carefully and
fully given in the excellent works of W. Anderson, Esq., i.c.,
“Catalogue of Chinese and Japanese Paintings in the British
Museum,” and “ The Pictorial Arts of Japan.”
With regard to the hanging of the pictures in the Exhibi-
tion, I am given to understand space will not permit of their
being arranged and classified according to Schools and
Centuries, but I have done so in the Catalogue, feeling that it
was necessary and such as would be wished by all interested
in Japanese Art.
MASAYUKI KATAOKA.
Lonpon, May, 1888.
4
AKEMONO, or hanging pictures, are the Japanese
Kk equivalent for the ordinary European oil and water colour
pictures, but are unlike them in this particular, that they are not
placed on the walls of a room and retained there all the
year round, but are only on view at certain seasons and festivals,
each Kakémono being supposed to convey some meaning in
respect to the various times and events. For instance, when a
marriage takes place the subjects exhibited are chiefly a
representation of the God ‘ Jurojin,” signifying a desire that
the couple may spend a long and happy future; also sets of
three Kakémonos, depicting first, Pine Tree ; secondly, Bamboo ;
third, Prunus ; with, in addition, figures of Takasago (an old
couple gathering fir-cones), a Stork ‘and a Tortoise, each and
all of these having reference to long life.
Again, such Kakémonos as represent winter scenery are kept
for the winter months, and the brighter ones, together with
those which are brilliant with highly coloured flowers and birds,
&e., for the summer months.
At the Festival of “ Hinamatsuri,”’ held in March, which is
exclusively a juvenile female holiday, the subjects chosen are
those of Court Ladies and Court scenery, in the houses where
no children are ; those having children erect miniature palaces,
with figures, &c., appertaining to the Court, and give large
entertainments to their juvenile friends.
At New Year’s tide, the subject of Shoki, or demon-
expeller, is shown, illustrating the casting off of all bad luck,
&e., with the old year, and making way for good luck in the
year to come.
2 =
=
Aa) ‘
CATALOGUE
OF
JAPANESE KAKEMONOS.
TAKUMA SCHOOL.
The Takuma School was founded by Takuma Tamé-uji in the
early part of the Tenth Century, and may be said to have merged
itself into the Yamato and Tosa Schools about the Fifteenth
Century. Almost invariably the paintings of Takuma and those
of his successors (who each assumed the prefix of Takuma to that
of their own name) had for their subjects representations of
Buddha or his apostles.
1. Sixteen Rakhans.
The Sixteen Rakhans were sixteen apostles of Buddha,
and are often found depicted in the old temples of Japan,
Attributed to Takuma ; eleventh century,
2. Bensaiten, one of the Seven Gods of Fortune.
Bensaiten is the Japanese Goddess of Wealth, Wisdom and
Eloquence, and is always depicted carrying a Biwa (native
musical instrument).
Attributed to Takuma; eleventh century.
3. Armida.
Armida is the most popular Buddha of Japan, and is supposed
to govern the western portion of Paradise.
Artist unknown ; probably thirteenth century.
2 Japanese Kakémonos.
YAMATO AND TOSA SCHOOL.
The Yamato is the oldest native school of Japan, founded in
the eleventh century, by Kasuga Moto-mitsu, and continues in
existence up tothe present date. It was not until the twelfth
century that the title of Tosa was added to that of Yamato, it
being assumed as a family name in place of Kasuga, by the then
head of the school Fuji-wara no Tsunétaka and retained by his
followers. The subjects chiefly chosen by artists of this school were
portraits of Chinese and Japanese heroes of real life and romance,
Court scenes, and illustrations of legends and poetical fancies.
Some of the most illustrious painters in this Academy were Kasuga
Moto-mitsu, Taka-Chika, Nobu-zané, Mitsu-nobu, Mitsu-shigé,
Mitsu-nori, Mitsu-oki, Sotatsu Mitsu-nari.
4. Portrait of Sei-yo-bo holding Peony Flowers.
Sei-y-obo was a goddess of the Chinese Buddhist School.
Painted by Srs-sH1n, signed ; seal Kiyo-wara-jo, seventeenth
century.
5. Quail and Wild Rose.
Painted by Mrrsv-ox1, signed; seal seventeenth century.
6. Quail and Millet.
Painted by Mrrsv-oK1, signed; seal seventeenth century.
7. Peonies
Painted by Mrrsv-oxt, signed; seal seventeenth century.
8. Quails and Wild Flowers.
Painted by Mirsv-ox1, signed; seal seventeenth century.
ES Ee es
Yamato and Tosa School. 3
9. Peonies.
10.
11.
12.
13.
14.
15.
16.
Le.
18
19.
20.
21,
Painted by Mirsu-ox1, signed ; seal Fuji-wara, seventeenth
century.
Convolvulus and Bamboo.
Painted by Mrrsv-ox1, signed ; seal seventeenth century,
Quails under Tea Shrub.
Painted by Mirsvu-ox1, signed ; seal seventeenth century.
Narihira (a poet famous for his beauty) looking
towards Mount Fuji.
Painted by Tsunt-Nort, signed; seal Mitsu-oki, seventeenth
century.
Cherry Blossom and Quail in panels.
Painted by Mirsu-oxt, signed ; seal seventeenth century.
Quails.
Painted by Mirsv-oxt, signed ; seal seventeenth century.
Quails by River-side.
Painted by Mrrsu-ox1, signed ; seal, seventeenth century.
Interior of Palace.
Painted by Mrrsv-ox1, signed ; seal seventeenth century.
Quails.
Painted by Mirsu-ox1, signed; seal seventeenth century.
Portrait of Shitomaro.
One of the hundred poets who contributed to the book of poems
called ‘‘ Hiyaku-nin-ishu,”’ and who died a.p. 724.
Painted by Mirsu-ox1, signed ; seal seventeenth century.
Chrysanthemums..
Painted by So-ratsu, signed ; seal seventeenth century.
A Pair—(1) Chrysanthemums, (2) Sunflower
and Coxcomb.
Painted by So-rarsu, signed ; seal seventeenth century.
Wisteria.
Painted by So-rarsu, signed ; seal seventeenth century.
/
4. Japanese Kakémonos.
SMS Per eat Cees Se eS a Ne a a
22. Branch of Persimon.
Painted by So-ratsu, signed KoreE-TosHI ; seal seventeenth
century.
28. Quails and Grass.
Painted by Mirsu-nant, signed; seal seventeenth century.
24, A Pair—(1) Bird on Cherry Tree. (2) Bird on
Prunus Tree,
Painted by SEs-surn, signed; seal Kiyo-wara, seventeenth
century.
25, Chrysanthemums and Butterfly.
Painted by Srs-sHix, signed; seal Kiyo-wara seventeenth
century.
26. Chinese Lady at toilet.
Painted by SEs-sHIN, signed ; seal Kiyo-wara-jo, seventeenth
century.
27. Quails.
Attributed to Mirsu-vosui ; eighteenth century.
28. Quails and Daisies.
Painted by Sumt-yosH1 H1R0-MICHI, signed Sumi-vosu1 Hox10-
Joxet; seal seventeenth century.
29, Emperor hunting.
Painted by Hiro Masa, signed Krt-sHIN Foust-wara-H1ro-
Masa ; seal eighteenth century.
30. Chinese Artist taking Portrait of a Lady.
Painted by So-KoKu, signed So-koKU-FusiI-WARA-K AZU-WO;
seal nineteenth century.
31. General Yoritomo hawking and Hana-Saki-jiji. .
This picture represents the incident where Hana Saki-jiji, a
magician,meeting the Japanese General out hunting, causes
a tree to blossom by throwing a powder of his own manu=
facture upon it,
Painted by Art, signed ; seal nineteenth century.
32. Quails and Millet.
Attributed to Tosa Mrrsu-ox1 ; seventeenth century.
Yamato and Tosa Schoel. | 2
88. Set of 8—(1) Chinese Boys on Elephant. (2)
Blind Man’s Buff. (8) Children at play.
Attributed to Ses-shin ; seventeenth century.
84. Birds, Plant and Verse of poetry.
Painted by So-rarsu Hoxio, signed ; seal sixteenth century.
35. Dancing figures.
Painted by Moronosv ; seal, sign seventeenth century.
36. Group of Ladies.
Painted by Moronosv ; seal seventeenth century.
37. Watanabe Tsuna on horseback,
One of the staff or retinue of ‘‘ Raiko,” the slayer of the Shiuten
Doji, a demon or monster that was supposed to exist about
the year 947, a.p.
Artist unknown,
388. Lady under a Willow tree.
Attributed to Hisnigawa Moronosv ; seventeenth century.
39. Lady practising on Koto.
Attributed to Hisnigawa Moronosu ; seventeenth century.
40. Ho-tei reading.
‘“‘ Hotei” the Japanese God of Plenty, one of the Seven Gods
of Fortune.
Attributed to Mara-eEr ; seal sixteenth century.
41. Peony. .
Painted by Ko-sen, signed ; seal seventeenth century.
42. Flowers and Basket.
Painted by Ritsu-6, signed ; seal seventeenth century.
43. Portrait of a Lady.
_ Attributed to Mata-HEI; seal seventeenth century.
44, Fish.
Painted by Hoxk1o So-rarsv, signed ; seal seventeenth century
45. Musician.
Painted by Nao-T ant, signed ; seal eighteenth century.
46.
47.
48.
49.
50.
52.
53.
54.
Japanese Kakémonos.
Group of Hideyoshi soldiers.
Artist unknown, probably sixteenth century.
Lady smoking, and another gazing at an Ele-
phant’s head.
Attributed to Marawer; seal sixteenth century.
Shells.
Painted by Mrrsu-ox1, signed ; seal seventeenth century.
Quails and Millet.
Painted by Mitsu-oki, signed ; seal seventeenth century.
Saigio, a Travelling Priest asking for shelter.
Saigio was a high court-official, in the reign of the Emperor
Toba, but he deserted his post, and leaving his family,wandered
about as a travelling priest, undergoing many hardships for
the sake of self-discipline.
Painted by Katsu-nosv, signed; seal eighteenth century.
Quails and Millet.
Painted by Mrrsu-ox1 TsunENont, signed; seal seventeenth
century.
Swan.
Painted by Mitsu-ox1; seal seventeenth century.
An Elopement.
Painted by Mitsv-ox1; seal seventeenth century.
it
5 «
Chinese School. 7
CHINESE SCHOOL.
The commencement of this school is generally supposed to date
with the time of Kosé no Kanaoka, about the end of the ninth
century, who undoubtedly took as his master or guide the works of
Nanriu, the first known artist of Japan, himself an emigrant from
China about the widdle of the fifth century, and to whom is
generally attributed the first real introduction of painting as an art
into the country. The Chinese school, soon after its foundation,
seems to have waned and almost died out, until about the fourteenth
century, when it revived under the hands of a number of artist
priests, who produced some powerful sketches in monochrome,
which were painted in strict accordance with the rules of Chinese
Art, and which were gradually imitated and brought to perfection
by the later followers of this school, such as Shiu-bun, Oguri-Sotan,
Soga Jasoku, Kosai, Yogetsu, Soami, Chinzan, Buson, Buncho, and
many others.
The artists of this school in its earlier days devoted themselves
mainly to studies of Buddhist deities and Chinese Landscapes, in
both of which they displayed remarkable talent and power of
imagination, but latterly their ordinary theme is that of Birds,
Animals and Flowers.
55. A Woman and Monkey on Well-Bucket.
Painted by Sutsu-zan, signed; seal nineteenth century.
56. Landscape.
Painted by SH1u-BUN, signed; seal end of fifteenth century.
57. A Pair—Winter Scenes with Wild Ducks.
Painted by Suiu-Bun, signed ; seal end of fifteenth century.
58. Chinese Landscape.
Painted by Suiu-Bun, signed; seal end of fifteenth century.
- ae ie OP eo ee ee ee
-
8 Japanese Kakémonos.
59. Bamboo and Sparrows.
Painted by CuIN-zAn, signed; seal nineteenth century.
60. Gamecock and Praying Mantus.
Painted by Curn-zan, signed ; seal nineteenth century.
61. Wild Flowers and Moon.
Painted by Curn-zan, signed ; seal nineteenth century.
62, Cherry Blossom and Bird.
Painted by Cu1n-zan, signed ; seal nineteenth century.
63. Carp jumping out of water.
Painted by Cu1n-zayn, signed ; seal nineteenth century.
6x. Bamboo and Sparrow.
Painted by Curn-zan, signed ; seal nineteenth century.
65. Birds on Willow tree.
Painted by Tant Buncno, signed Buncuo ; seal nineteenth
century.
66. A Pair—(1) Wisteria. (2) Autumn-tinted mapel.
Painted by Tani Buncuo, signed BuncnHo ; seal nineteenth
century.
67. Fuji-yama above the clouds.
Painted by TAni-Buncuo, signed Buncno; seal nineteenth
century.
68. Landscape.
Painted by Tan1 Buncuo, signed Buncno ; seal nineteenth
century.
69. A Pair—(1) Fir Tree. (2) Bamboo and Plum
tree.
Painted by Bun-cuo, signed ; seal nineteenth century,
70. A Pair—(1) Convolvulus on Bamboo. (2) Wild
Flowers and Insects.
Painted by Sorin, signed Surko Sorin; seal nineteenth
century.
71, A Pair—(i) Thunder-god caught by an eagle.
(2) Thunder-god caught by a crab.
Painted by Yr1-K1, signed ; seal nineteenth century.
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Chinese School.
72. Carp and Waterfall.
Painted by Kozan, signed ; seal nineteenth century.
73. Peonies and Sparrow.
Attributed to OcuRI-Soran ; seal fifteenth century.
74. Pomegranate and Flowers on Lotus leaf.
Attributed to Ocuri-Soran ; fifteenth century.
75. Persimon. |
Painted by Riv-Rixio, signed ; seal eighteenth century.
‘76. Bird on a tree. |
Painted by Yuu, signed; seal eighteenth century.
77. Flowers and Insects.
Painted by Un-Po, signed ; seal nineteenth century.
78. Bird on Tree and Heron on rock.
Painted by Ki-yern, signed ; seal nineteenth century.
79. Landscape.
Painted by Buncno, signed ; seal eighteenth century.
80. Almond Tree and Chrysanthemum.
Painted by Buncuo, signed ; seal eighteenth century.
81. Herons.
Artist unknown.
82. Tiger.
Painted by KiosEn ; seal nineteenth century.
83. Birds.
Painted by Buncuo, signed ; seal nineteenth century.
84. Birds and Flowers.
- Painted by Suu-un, signed ; seal, nineteenth century.
85. Dragon emerging from the sea.
Painted by SoAm1; seal fifteenth century.
.86. Monkey.
Painted by Soamr; seal fifteenth century.
10
Japanese Kakémonos.
87. Chinese Landscape.
Painted by Buncuo, signed ; seal nineteenth century.
88. Set of 3—Landscapes.
Painted by NanmEI, signed ; seal nineteenth century.
89. Chinese Temple.
Painted by Yosat, signed; seal nineteenth century.
90. A Pair—Landscapes.
Painted by Buncuo, signed ; seal nineteenth century.
91. Landscape.
Painted by Buncuo, signed ; seal nineteenth century.
92. Landscape.
Painted by RiuKoxu, signed; seal nineteenth century.
93. Crab and Lotus plant.
Painted by Chin-zan, signed ; seal nineteenth century.
94. Lotus-leaves.
Painted by Chin-zan, signed ; seal nineteenth century.
95. The Thousand Islands.
The Thousand Islands are an immense group of small islands,
called Matsushima, situated in the northern part of Japan,
and are famous for the splendid effect caused by the
sun setting through the magnificent fir trees with which
they are covered.
Painted by Fuyo, signed; seal eighteenth century.
96. Landscape.
Painted by OHIKU-KOKU, signed ; seal nineteenth century.
977. Peony and Pine Tree.
Painted by Chin-zan, signed ; seal nineteenth century.
98. A Pair—(1) Lily and Bird. (2) Duck and Drake.
Attributed to Ogourr-Soran; sixteenth century.
99. Palm and Bamboo.
Painted by Bar-1Tsv, signed; seal nineteenth century.
<7 " s ‘ 7 Y *, — bs * i
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Chinese School. ll
100. Sparrow and Bamboo.
Painted by Buncuo, signed; seal eighteenth century.
101. Cock and Flowers.
Painted by Cuin-zAn, signed; seal nineteenth century.
; 102. Eagle and Pheasant.
Bi Painted by Buncuo, signed; seal eighteenth century.
103. A Pair—(1) Raven with Grasshopper. (2) Bird on
tree.
Painted by Sosui-Srx1, signed; seal nineteenth century.
104. Ashiha Daru-ma.
Daruma, the first Chinese Patriarch, was supposed to have
remained in a sitting posture, while wrapt in religious
meditation, for so long a time that he lost all power of his
legs.
Painted by KwaceEn, signed ; seal fifteenth century.
i a et SE es ee
105. Peak of Fuji-yama.
Painted by Hozan when 82 years old, signed ; seal seventeenth
century.
106. A Pair—(1) Deer in reeds. (2) Wild Goose.
Painted by Buson, signed ; seal eighteenth century.
ml ado Oe
Sosima's
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d 107. A Pair—(1) Man in a boat. (2) Man fishing.
Painted by Buson, signed; seal eighteenth century. ‘
108. A Cat.
Painted by Surusun; fifteenth and sixteenth century.
109. Landscape.
Painted by Yo-crrsvu ; seal fifteenth century.
110. Study of flowers.
Painted by CHIn-zAn, signed ; seal nineteenth century.
ee: 111, Squirrels and Melons.
Painted by Soamr; seal fifteenth century.
112. Cranes by stream.
Attributed to Soam1; fifteenth century.
. Landscape. ra
Painted by Soamr; seal fifteenth century.
Bird and Flowers.
Painted by Sosan, signed ; seal tineteenth anh
Quails.
Painted by Riv-xix1o ; seal eighteenth century,
‘
. Falcon on a Pine tree.
Painted by Kiysut, signed ; seal nineteenth century.
Birds and Maple tree.
‘Painted by Renzan, signed ; seal nineteenth century. ,
'
Bird on a rock.
Painted by Nanxat, signed ; seal nineteenth century.
Se ee ae ey
Sesshiu School. 13
SESSHIU SCHOOL.
The Sesshiu School is indeed but a branch of the Chinese School,
having been founded by Sesshiu, a pupil of Josetsu and Shiubun.
But about 1460 he went over to China, where, being dissatisfied
with the works of the then living masters, he is said to have made
the remark : “Iam convinced that there is in China no man whom
T could respect as a teacher. The landscapes, mountains and trees
of China must be my teachers, hence a teacher I possess only in
myself, and want no other man to help me.” He succeeded in a
marvellous manner, winning the highest praise in China; he
returned to Japan in 1469, resided near the Temple of
Unkoku-ji, and founded the Sesshiu School, which found many
adherents and produced some illustrious painters, amongst whom
may be named Shiu-getsu, Sesson, Keishoki, Sho-kei, Do-an,
Shiu-toku and Unkei. ?
120. Portrait of Shiusan-no-Shaka.
Shiusan-no-Shaka, or the historical Buddha, when a lad of nine-
teen left his home and lived a hermit’s life on Mount
Dandoku for twelve years; after which he returned, and
ultimately became the great founder of the Buddhist sect.
Painted by Sessuiu, signed; seal fifteenth century.
121. Study of Lotus with Bird.
Painted by SussHiv, signed ; seal fifteenth century.
122. A Pair—Landscapes.
Painted by Sessurv, signed ; seal fifteenth century.
123. Landscape.
Painted by SxssHiv, signed ; seal fifteenth century.
124. Landscape.
Painted by Ke1-sHo-k1 ; seal fifteenth century.
14 Japanese Kakémonos,
125. A Pair—Birds and Flowers.
Painted by Kert-sHo-K1; seal fifteenth century.
126. A Pair—(1) Eagle watching Ducks. (2) Eagle
with captured Heron.
- Painted by Kei-sHo-xk1; seal fifteenth century.
127. Landscape.
Attributed to Kxt-sHo-x1 ; seal fifteenth century.
128. Kwan-non.
Kwannon, the Goddess of Mercy, one of the most popular
Divinities of Japan.
Attributed to Kr1-sHo-K1.
129. Figure of Jurojin.
Jurojin, or the God of Longevity. This figure is always
depicted as being accompanied by a white deer, and
surrounded with branches of the pine, bamboo and plum
trees (Sho-Chiku-Bai), emblems of longevity.
Painted by Do-an, seal Yama-pa D0-An; sixteenth century.
130. Portrait of Yébisu.
Yebisu, one of the seven Gods of Fortune, and, by tradition, the
son of Izanagi and Izanami, the first inhabitants of Japan.
Painted by Do-an, seal Yama-pa Do-an, sixteenth century.
131. Dai-koku sitting on a bag.
Daikoku, one of the seven Gods of Fortune, who is controller
of the riches of the agricultural world.
Painted by Do-an, seal Yama-pa Do-an, sixteenth century.
132. Monkey (long-armed).
Painted by Szsson, signed ; seal sixteenth century.
133. A Pair—(1) Hen and Chickens with Almond Tree.
(2) Cock on a Willow tree.
Painted by YosHin, signed SEI-SEN-HO-IN YosHIN ; seal nine-
teenth century.
134. A Pair—(1) Eagle on rock. (2) Eagle on a tree,
Painted by Un-xoxu Toyexi, signed; seal seventeenth
century.
eS ee a be a. ok ea — —
Sesshiw School. 15
135.
136.
137.
138.
139.
140.
141.
142.
144.
145.
147.
148.
149.
150.
Group of Men and Tiger. .
Painted by Suivu-errTsv, seal fifteenth century.
Shoki or Demon-expeller.
Painted by Td-HAN, seal seventeenth century.
Crabs and Lotus.
Painted by Suru-GEn, seal sixteenth century.
Landscape.
Painted by Kut-sHo-k1, seal fifteenth century.
Shaka surrounded by halo seated on a rock.
Painted by Sessuiv, seal fifteenth century.
Goose resting on a rock.
Painted by Sessuiu, signed; seal fifteenth century.
A Pair.—Chinese winter landscapes.
Painted by Szsson, signed; seal sixteenth century.
Landscape.
Painted by Srssn1u, signed ; seal fifteenth century.
Monkey on rock.
Painted by SussHiv, seal sixteenth century.
Set of 8—(1) Old Man. (2) Heron. (8) Crows.
Painted by Hox1o UnKoxv, signed ; seal eighteenth century.
Landscape.
Painted by Surv Toxv, seal sixteenth century.
Priest carrying a shrimp.
Painted by UNKoKU, seal seventeenth century.
Figure of Daruma.
Painted by Unxet, dated 1532, signed; seal sixteenth
century.
A Pair—(1) Egg Plant. (2) Melon.
Painted by Yamapa Dovy, seal sixteenth century.
16 Japanese Kakémonos.
151. A Pair—Chinese Priests.
Painted by Sxssurv, seal fifteenth century.
152. Chinese Landscape. .
Painted by Suiv-cErsv, seal fifteenth century.
158. Priest holding up a cat.
Painted by Ker-s10-k1, signed ; seal fifteenth century.
154. Landscape.
Painted by Su1u-cersu, seal fifteenth century.
155. Lily laden with snow.
Painted by Hur-sen Mzt-po, seal sixteenth century.
156. Raven on a rock.
Painted by Boxu-sniv, seal sixteenth century.
157. Pumpkin, Grapes and Persimon.
Painted by Takemura, signed ; seal nineteenth century. 4
158. Falcon.
Painted by Wask1, signed; seal nineteenth century,
159. Owl on branch.
Painted by YEN-REI-sAI, signed ; seal nineteenth century.
160. Eagle on oak.
Painted by Riotssu, signed ; seal nineteenth century.
161. Ducks in stream. }
Painted by UNKEI, signed ; seal nineteenth century.
162. Geese.
Painted by Rioksr, signed ; seal nineteenth century.
163. Geese in reeds.
Painted by Boxutsnsal, signed ; seal nineteenth century.
164. Falcon on Cherry tree.
Painted by Kwasgr, signed; seal nineteenth century.
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Kano School. 17
KANO SCHOOL.
The Kano School was founded in the latter part of the Fifteenth
Century, by Kano Masanobu, a pupil of the Chinese School, under
Oguri Sotan and Shiubun, whose style he imitated ; but it was not
until after his death that it became a distinct and widely known
school. When in the hands of his son, Motonobu, who, struggling
for years in almost abject poverty, at last asserted his wonderful
genius, it became one of the best known and most popular schools
of the period. The prevailing subjects chosen by artists of the
Kano School are those of Chinese Divinities and Chinese Land.
scapes, but many also have left some splendid delineations of Birds
andFlowers. The most noted artists of this school were Masanobu
Motonobu, Yukinobu, Shoyei, Yei-toku, Sanraku, Sansetsu, Tan-yu,
Yasunobu, Mori Kagé, Ritsu-wo, Yeisen-in-hdin, Sosen, ete.
165. Sagi or Snow Heron in marsh.
Painted by Tan-niu-sal, signed; sealed Mori-nebu : seven-
teenth century.
166. Ducks in reeds.
Painted by Yusuo, signed ; seal seventeenth century.
167. Magnolia with Birds on river-bank.
Painted by SHovel, signed ; seal sixteenth century.
168. A he ae Birds on Fir tree. (2.) Birds on
POCK.
Painted by Soret, signed ; seal sixteenth century.
169. Flowers and Kingfisher.
Painted by Nao-Nosu, signed ; seal Jiteki-sai, seventeenth
century.
2
18
170.
171.
172.
1738.
174.
175.
176.
177.
178.
179.
180.
181.
Japanese. Kakémonos.
Crane and Swallows.
Painted by Moro-Nosu, seal sixteenth century.
Gama-sen-nin or Toad charmer.
Painted by Moto-Nosu, seal sixteenth century.
Chrysanthemums and Birds.
Painted by Moro-Nosu, seal sixteenth century.
A Pair—Storm Dragons
Painted by Moro-Nosvu, seal sixteenth century.
Kwan-non seated on Lotus leaf.
Painted by Moro-Nosv, seal sixteenth century.
Ho-tei or God of Wealth (one of the Seven
Gods of Fortune).
Painted by Moro-Nosv, seal sixteenth century.
Kwan-non in the clouds.
Painted by Kano Tsunn-Nosv, signed Tsuné-Nobu; seal
seventeenth century.
God of the Winds and Fuji-yama in back-
ground.
Painted by Kano Tsuni-Nosu, signed Tsuné-Nobu; seal
seventeenth century.
Set of 8—(1) Ben-Ten playing guitar. (2) Cock
and Bamboo. (8) Heron and Lotus flower.
Painted by Kano Tsunr-Nosu, signed Tsuné-Nobu 5 seal
seventeenth century.
Swallows on Willow tree.
Painted by Kano 'I'sunié-Nosu, signed Hogen Koseni; seal
seventeenth century.
Peacock and Peonies.
Painted by Kano Tsuni-Nosu, signed Tsuné-Nobu; seal
seventeenth century.
Mandarin Ducks.
Painted by Kano Tsuni-Nosu, signed Tsuné-Nobu ; seal
seventeenth century.
Kano School 19
182. Branch of Peonies.
Painted by Kano Tsuni-Nosu, signed Tsuné-Nobu ; seal
seventeenth century.
188. Gourd in basin.
Painted by Kano 'T'suné-Nosv, signed Tsuné-Nobu ; seal
seventeenth century.
184. Pigeon seated on Fir tree.
Painted by Tan-yu-sal, signed; seal seventeenth century.
185. Monkeys on tree.
Painted by Tan-yvu-sat, signed; seal Hogen-tan-yu, seven-
teenth century.
186. Set of 3—(1) Bird on Willow tree. (2) Pigeon
on Prunus tree. (8) Ho-tei with Children.
Painted by TAN-YU-HOIN, signed; seal Kunai-kio-hoin, seven-
teenth century.
(The above was painted when the artist was 72 years of ney .
187. Bird on tree, with Palms laden with snow.
Painted by Tan-yu-sA1, seal Mori-nosu, seventeenth century.
188, Set of 8—(1) Portrait of Sei-yo-bo. (2) Bird on
Fir tree. (8) Bird on Prunus tree.
Painted by Tan-yu-HOIN when 60 years old, signed ; seal seven
teenth century. ,
189. Set of 3—(1) Sen-ju-Kwan-non. (2 and 8) Portraits
of Ladies.
Painted by Tan-yu-saJ, seal seventeenth century.
190. A Pair—Pigeons.
Painted by Kunwar Kio-no1n Tan-yu when 65 years ede.
signed ; seal seventeenth century.
191. Set of 3—(1) Thunder-god. (2)God of Wind. (8)
Waterfall,
Painted by Tan-yu-HoIn when 70 years old.
192. A Pair—(1) Priest on horseback. (2) Komachi,
Komachi, a noted Japanese character, who in her youth was a
brilliant and clever poetess, but who led a very dissolute life,
ending her days in a wretched and deplorable manner.
Painted by Tan-yu-HoIN, signed ; seal seventeenth century.
20 Japanese Kakémonos.
ee
193. Peony.
Painted by Tay-yu-sat, seal Mont-nosu, seventeenth century.
194. Sparrows on Snow-clad bough.
Painted by Moro-nosv, signed ; seal seventeenth century.
195. Head of a Dragon amid the clouds.
Painted by TAN-yu-sat, seal Moni-NoBv, seventeenth century.
198. Spray of Biwa fruit.
Painted by Tan-yu-sal, seal Mortnosv, seventeenth century
197. Waterfall with Birds.
Painted by Tan-yu-Ho1n when 69 years old, signed ; seal
seventeenth, century.
198. Group of Vegetables.
ay Painted by Moro-nosv, seal sixteenth century.
199. Wild Ducks.
Painted by Moto-Nosu seal sixteenth century,
¥ 200. Branch of Chestnuts.
Painted by Moto-nosu, seal sixteenth century.
ee 901. Chinese Sage with attendant.
Painted by Moro-nosu, seal sixteenth century.
202. Kio-yu washing out of his ears an offensive
offer made him.
Painted by Moro-nosv, seal sixteenth century.
208. Portrait of Suga-wara Michi-Zané.
Painted by Moro-Nosv, seal sixteenth century.
204, Birds and Nanten Tree laden with snow.
Painted by Kano Tsuni-nosu, signed TsuNE-NOBU ; seal
seventeenth century. ,
205. Flowers and Birds.
Painted by Kano TsuNnu-NoBu, signed TsUNE-NoBU ; seal
seventeenth century.
Ke 206. Ho-tei picking Persimon for a Boy.
Painted by Kano Tsuni-Nosu, signed TSUNE-NOBU ; seal
seventeenth century.
Kano School. 21
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207. Set of 3—(1) Ho-tei. (2) Crane. (8) Crane.
Painted by Kano Tsuni-Nosu, signed Tsuni-Nosu ; sealed
seventeenth century. . :
208. Set of 3—(1) Peony. (2)Convolvulus. (8) Fuyo..
Painted by Kano Tsunt-nosu, signed Tsunii-Nosv ; seal
seventeenth century,
209. Daikoku on Rice-bags distributing treasures.
Painted by Hoxto-Kazu-nosu, signed ; seal nineteenth
century,
210. Squirrel nibbling Hechima and Egg-plants.
Painted by Masa-nosu, signed Kano-KeI-Bu ; seal fifteenth
and sixteenth centuries.
211. Study of a Chinese Sage.
Painted by Uxon, signed ; seal sixteenth century.
212. Chinese Landscape.
Attributed to Kano-masa-Nopu, signed by Bunsnrv-sat
YOHEI ; fifteenth century,
213, Basket of Fish and Flowers.
Painted by AxKr-nopzu, signed Kusuin Ax1-nozu ; seal nine-
teenth century.
214, Eagle on a rock.
Painted by Riv-sto, signed ; seal nineteenth century.
215. Reeds with Fuji-yama in the distance.
Painted by TsuNE-NoBu, signed ; seal eighteenth century.
216. Priest Kanshinsai.
Painted by Nao-nosv, signed ; seal seventeenth century.
217. Set of 3—(1) Bird and Flowers. (2) Ducks.
(3) Boy on Buffalo.
Painted by Moro-nosv, seal sixteenth century.
218, Heron.
Painted by Jirexi-sar Tanniu, signed; seal seventeenth
century. : ;
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}
i
22
Japanese Kakémonos.
Pee tt a ee er al ys oe a Fn SS
219. Set of 3.—Birds in cages.
220.
Painted by TANNtv, signed ; seal seventeenth century.
Figure of Kwan-non on a Lotus.
Painted by TAN-yu-sAl, seal seventeenth century.
221. Kwan-non on Lotus-leaf.
222.
Painted by TAN-YU-HOGEN, signed, seal seventeenth century.
Birds on tree.
Painted by Yrt-roxv, seal sixteenth century.
2238. Wild Geese.
224.
225.
226.
227.
228.
229.
230.
Painted by SAN-RAKU, seal Mrrsu-yort seventeenth century
Set of 8—(1) Ghinese Landscape. (2) Herons
and Lotus Flower. (8) Owl on Bamboo.
Painted by San-seTsu, seal Martsu-mMoro SAN-SETSU seven-
teenth century.
Set of 8—(1) Chinese Landscape. (2) Sage-
feeding Stork. (8.) Chinese Landscape.
Painted by San-sersu, seal Marsu-MoTo SAN-SETSU seven-
teenth century.
A Pair—(i) Bird and Cherry Blossom. (2) Man-
darin Ducks.
Painted by Kano-TansHin, signed; seal Fugi-wara, seven-"
_ teenth century.
Landscape.
Painted by Tan-sHin, signed ; seal eighteenth century.
Basket of Flowers.
Painted by Ritsv-o, signed Mucuiv-po Harirsv ; seal Kwan
eighteenth century.
Man and Woman in a House boat.
Painted by YEI-sutn, signed ; seal nineteenth century.
Male and Female Pheasant with young.
Painted by Boxku-suin-sat (YASU-NoBU), signed ; seal seven-
teenth century.
Kano. School. 23
231. A Pair—(1) Bamboo, Peach, and Bird. (2)
Camelia and Dove.
Painted by Morryosui, signed ; seal nineteenth century.
232. Birds on a tree.
‘Painted by YuKrnost, seal sixteenth century.
288. Shoriken crossing water on his sword.
Shoriken, one of the eight Rishi or sages of Buddhist’
mythology, who was supposed to have been possessed of a
sword with which he could travel upon water.
Painted by Moronosv, seal sixteenth century.
234. Herons.
Painted by YrrsHun, signed Hakvu-cioxvu-sal; seal seventeenth
century.
235. Hagle on a tree.
: Attributed to Masa-Nnosu, fifteenth century,
2386. Landscape.
Painted by AI-SHIN, signed; seal seventeenth century.
237. A Pair—(1) Heron. (2) Pigeon.
Painted EY NAo-NOBU, signed ; seal seventeenth centur y-
238. Yoshino.
Painted by Kano eee -NOSKE-AIGAKU, signed ; seal sixteenth,
century.
2389. Set of 38—(1) Landscape. . (2) Peonies. (8),
Shoriken on sword. .
Painted by Moro-nosu, seal sixteenth century.
240. Landscape with Monkeys.
Painted by SAN-sETSu, seal seventeenth century.
wi = . - ey mer, ee
241, Birds on a tree.
Painted by YxEI-roKv, seal sixteenth century.
242, Fan and Flowers.
Painted by Cutka-NoBu, signed ; seal seventeenth century.
24
248.
244.
245,
246.
247.
248.
249.
250.
251.
252.
253.
254
~
255.
Japanese Kakémonos.
Set of 8—(1) Man on Tortoise. (2) Carp in
water. (8) Crane and Waterfall.
Painted by Tan-yen-sat Fusiwara Morizana, signed ; seal
eighteenth century.
Birds and Flowers.
Painted by Morto-nosu, seal sixteenth century.
A Pair—Chinese Landscapes.
Painted by Yo-sEN-INN, signed ; seal nineteenth century.
Birds and Flowers.
Painted by Moro-nobv, seal sixteenth century.
Ho-tei.
Painted by Moro-Nnosv, seal sixteenth century.
A Pair—Chrysanthemums.
Painted by TaN-N1IU-SAl, signed; seal seventeenth century.
Shitomaro sitting on the seashore.
Painted by Hocen To-un, signed ; seal seventeenth century.
Three Chinese Sages riding on horseback:
Painted by Kano Nao-Nosu, signed Jirekt-sat; seal
seventeenth century.
Goose. :
Painted by Morto-Nosw, seal sixteenth century,
Figure of Ho-tei.
Painted by Moto-nosu, seal sixteenth century.
Long-armed Monkey.
Painted by Moto-nosu, seal sixteenth century.
Man lighting a fire.
Painted by SHo-Kwa-po, signed ; géal seventeenth century.
A Pair—Birds and Flowers.
Painted by SHo-¥YEr, seal sixteenth century, °
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Kano School. 25
256. Chinese Landscape.
Painted by Suo-yer, seal sixteenth century.
257. Biwa Fruit.
Painted by Yz1-Toxv, seal sixteenth century.
258. Flying Cranes.
Painted by Mrrsu-nosu, seal sixteenth century.
259. Pigeons.
Painted by Suo-yxr, seal sixteenth century.
260. Landscape.
Painted by Moro-nosu, seal sixteenth century.
261. Bird on a tree.
Painted by Yx1-roxu, seal sixteenth century.
262. Landscape.
Painted by Moro-nosu, seal sixteenth century.
263. Landscape.
Painted by Hocrn To-suun (Snoxwapo), signed ; seal seven-
teenth century.
264. Falcon on a perch.
Painted by Gwa-sal, signed ; seal nineteeth century.
265. A Pair—Peacock and Peahen.
Painted by Kano Suo-yve1, signed ; sealed fifteenth century.
266. Birds and Flowers.
Woven in Silk, eighteenth century.
266a,. Study of Fruit and Vegetables.
Painted by Ura-no-sukh, seal YUKI-NoBU, sixteenth century.
26 Japanese Kakémonos.
See a a aA a aR ae aa i a
UKIYO-YE-RIU OR POPULAR SCHOOL.
The Popular School embraces a number of artists noted chiefly’
for their drawings and paintings executed for the purpose of
illustrating Books, Cards, Play-bills, ete. Tt was founded by Iwasa
Matahei, who was a pupil of the Tosa School, but’ being expelled
for misconduct was compelled to work independently. He was
styled “‘ Ukiyo Matahei,” because he painted so well the prevailing
fashions in dress, mode of living, ete., the word “ Ukiyo” meaning
“fleeting world.” He found but few exponents of his art until the
appearance of Hishigawa Moronobu, who initiated the art of wood
engraving, which from that time has flourished and increased
to a very marked extent. The popular School has produced,
amongst other artists, Mori-shigé, Hanabusa Itcho, Mori-kuni,
Suke-nobu, Haru-nobu, Shunsho, and Hokusai.
aT
267. Portrait of a Lady.
Painted by Hisui-cawA Moro-NoBv, signed ; seal seventeenth
century.
268. Portrait of a Lady, with lines of poetry.
Attributed to Hisu1-cawA Moro-NoBu, seventeenth century.
269. Portrait of a Lady.
Painted by Hisui-cawA Moro-Nnobv, signed; sealed seven-
teenth century.
2"0. Portrait of a Lady.
Attributed to Hisni-cawA Moro-Nobv, seventeenth century.
21. Portrait of a Lady.
Painted by Hisu1-caws Moro-Nosv, signed ; seal sevetitecth
century.
Ukiyo-ye-riw or Popular School. 27
272. Street scene.
Painted by Hisut-cawa Moro-nosu, signed ; seal seventeenth
century.
273. Lady of Title making a call.
Painted by Hisu1-cawa Moro-nosgv ; signed, seal seventeenth
century.
274, Ladies in garden.
Painted by H1su1-cawa Moro-nozu, signed ; seal seventeenth
century.
275. Bedroom Scene, Shewing a bed covered with a
mosquito curtain. .
Painted by Moro-ntpx, signed ; seal seventeenth century.
276. Landscape,
_ Painted by Hoxv-sat, signed ; seal early nineteenth century. °
277. Portrait of Shakuten (one of the Buddhist
Deities).
Painted by Hoxu-sat, signed ; seal early nineteenth century:
278. Titled Pergonage in court dress, with atten-
dant.
Painted by Hoxv-sa1, signed ; seal early nineteenth century,
Signattire stating, above painted at the age of 88 years.
279. Man-zai; or, New Year’s Dancer.
Painted by Hoxv-sat, signed ; geal early nineteenth century.
280. Chrysanthemum.
Painted by Hoxv-sar, signed ; seal nineteanth century.
282. Heron on a tree, .
Painted by Hana-pusa Ir-cno, signed; seal eighteenth
century.
283. Set of 8—(1) Travellers caught in a storm.
(2) Travellers resting at a tea-house. (3)
Holiday Makers.
Painted by Hana-pusa, Ir-cno, signed 3 seal eighteenth
century.
28 Japanese Kakemonos.
284. Kiku-doshi gazing at the Chrysanthemum.
Kiku-doshi, a youthful attendant on the Emperor, who was
exiled from the Palace for having offended him by his rude-
ness. He occupied the time while in his mountain retreat
by inscribing on the leaves of the chrysanthemum a magic
sentence, which ensured his protection from evil.
Painted by Hana-Busa Ir-cuo, signed; seal eighteenth
century.
285. Set of 8—(1) Nari-hira fording the Tama
River. (2) Bleaching linen by the Tama
River. (8) Upper part of Tama River.
Painted by Hawna-pusa It-cHo, signed Rinsho-wan; seal.
eighteenth century.
286. Bird on a Cedar. tree laden with snow.
Painted by Hana-pusa Iv-cno, signed ; seal eighteenth
century.
287. Chinese Sage digging up a Gold kettle.
Painted by Hana-susa It-cHo signed Hoxvu-so-6 HANna-Bv
sa-Ir-cyo ; seal eighteenth century,
288. (Riu-giu) Castle in the air above a large wave.
Painted by Hawna-susa It-cHo, signed Hoku-so-o HANA-BU-
sA-IT-cHo ; seal eighteenth century.
289. Yorimasa slaying the Nuye.
Yorimasa, a renowned soldier, who slew a monster, said to
have the head of a monkey, the body of a badger, the legs of
a tiger, and a snake for a tail. The legend declares that
the monster appeared nightly during the illness of the
Emperor, and when slain by the valiant Yorimasa, the
illness disappeared.
Painted by Hava-susa It-cuo, signed Hoxv-so-d Ir-cxo ; seal
eighteenth century.
290. Manzai; or, New Year’s Dancer.
Painted by Hawna-susa It-cno, signed Hoxu-so.6 It-cno 5
seal eighteenth century.
291. Fisherman caught in a waterspout.
Painted by Hawna-susa It-cno, signed Hoxu-so-6 It-crio ;
seal eighteenth century.
(The popular superstition is that a waterspout
is caused by a dragon in the heavens drawing up the
water from the sea to drink.)
Uhiyo-yé-viw or Popular School. 29
292. Takamochi.
Takamochi catching a man supposed to be thieving oil, but
who turns out to be Bozu on his round to light lamps.
Painted by Hawna-nusa It-cno, signed Kio-unD6; seal
eighteenth century.
298. Roso or Ruined Priests, begging as street
musicians.
Painted by Hawa-busa It-cyo signed Fus1-Nosuka ; seal
eighteenth century.
294. Court-carver carving Mask of Han-nia.
Painted by Hana-susa It-cuo, signed ; seal eighteenth
century.
(In the upper circles of Japanese society private theatri-
cal performances take place periodically. The actors
are gentlemen of rank, all of whom wear historical
masks,)
295. Ghinese Warrior forcing his way through the
gate.
Painted by Hawna-Busa It-cuo signed; Hoxkvu-so-6, seal
eighteenth century. ©
296, Chinese Warrior forcing his way through the
gate.
Painted by Hana-susa ‘It-cn0, signed Sui-Jo ; seal eighteenth
century.
297. Interior of a palace.
Painted by Hana-svsa Iv-cuo, signed Fuji-Nobuka; seal
eighteenth century.
298. Komachi in boat—with lines of Poetry by the
Artist.
Painted by Hana-susa It-cno, signed; seal eighteenth
century.
299. A Pair—Chinese Landscapes.
Painted by Hawna-susa Ir-cHo, signed; seal eighteenth
century.
800. Court Messengers conveying letter and
presents.
Painted by Jx-KEI-sAI, signed ; seal nineteenth century.
30 Japanese Kakémonos.
301. Juggler.
. Painted by Hana-pusa It-cwo, signed ; seal eighteenth
century.
302. View of a Wayside Inn.
Painted by Hana-susa It-cuo, signed; seal eighteenth
century.
803. Portrait of Utsume, painted on a Fan.
Painted by Ir-cuo, signed Hoxvuso 6-It-cHo ; seal eighteenth
century. ;
804. Chinese Landscape.
Painted by Hana-susa Iv-cuo, signed; seal eighteenth
century.
805. Chinese entering a Palace.
Painted by Hoxv-to ; seal nineteenth century.
806. Poppies.
Painted by Hoxusa1 Tam#-Icu1, signed ; seal early nineteenth
century.
307. Group of Ladies.
Painted by Hisnt-cawA Moro-nosv, signed ; seal seventeenth
century.
808. Portrait of a Lady.
Painted by Tr1-sar Hoxv-sa, signed ; seal nineteenth century.
309. Lady playing Battledore and Shuttlecock.
Painted by Hana-pusa Ippo Nosv-Katsu, signed ; seal
eighteenth century.
310. Lady placing Poetry on a Cherry tree.
Painted by Hoxu-sa, signed ; seal nineteenth century.
311. Goose.
Painted by Hoxvu-sar when 88 years of age; signed ; seal
nineteenth century. ;
812. Three Kylins fighting.
Painted by Hawna-Busa It-cuo, signed ; seal eighteenth
century. ;
Ukiyo-ye-vriu or Popular School. 31
313. Group of Swallows.
Painted by Hoxvu-sal, signed ; seal eighteenth century.
014, Jurojin.
Painted by Hocrn Suiuzan when 73 years old, signed ; seal
eighteenth century.
315. Crows on a tree.
Painted by Suuzan Gaxu, seal eighteenth century.
316. The Gods of Wind and Thunder.
Attributed to Hox-Ke1: nineteenth century.
317, Men towing a boat. |
Painted. by Hana-susa Ir-cuo, signed ; seal eighteenth
century,
318. Demon. .
Painted by Hana-pusa It-cuo, signed ; seal eighteenth
century.
319. The Five Seasons--New Year, Spring, Summer,
Autumn and Winter.
Painted by’ Hana-susa It-cuo, signed ; seal eighteenth
century,
320. Biwa in Bag and White Snake.
Painted by Hoxu-sar when 88 years old, signed ; seal nine-
teenth century.
321. Bird on a bale.
Painted by Hana-Busa It-cHo, signed; seal eighteenth century.
O22. Snake in Wheat.
Painted by Hoxto. Gtoxuzan, signed; seal nineteenth
century.
323. Fuji-yama.
Painted by Gwax1o-Rosin Hoxv-sat, signed ; seal nineteenth
century,
324. Portrait of Chiujo-himé.
Chiujohimé, a celebrated Japanese lady, noted for her
beauty and wisdom, and one of the wives of Kamatari, at
whose death she retired into convent life.
Painted by Curxv-sa, signed; seal nineteenth century.
~
32 Japanese Kakémonos.
325. Figure of a Lady.
Painted by Hoxku-BA, signed ; seal nineteenth century.
826. Three Ladies.
Painted by Miya-cawAa Harvu-masa, signed ; seal seventeenth
century.
327. Ladies riding.
Painted vy Hisut-cAwa Moro-nosv, signed ; seal seventeenth
century.
3828. Man and Woman.
Painted by Hisu1-cawA Mono-nosu, signed ; seal seventeenth
century.
329. Ladies travelling.
Painted by Hisui1-cawa Moro-nonv, signed ; seal seventeenth
century.
3830. Landscape (Sumida River).
Painted by Ko-gal, signed; seal nineteenth century.
331. Dancers.
Painted byHawna-pusa It-cno,signed; seal eighteenth century.
3832. Rice Bales and Rats.
Painted by Hoxv-sal, signed ; seal nineteenth century.
333. Landscape.
Painted by Hoxkv-sa1, signed; seal nineteenth century.
Korin School. 33
KORIN SCHOOL.
‘
The Korin School was founded in the Seventeenth Century by
Ogata Korin, an artist specially famed for his paintingsand designs
on lacquer work. He had no pupils or followers of any repute until
the advent of Ho-itsu, in the latter part of the Eighteenth Century,
since then his style has been more widely imitated, more
especially in the painting of birds and flowers. The best known
artists of this school are Korin, Hoitsu, Ki-itsu, Honi, Kosson
and Ken ya, brother of Korin.
334. A Pair—Chrysanthemums (Impasto).
Painted by Ko-r1n, signed ; seal end of seventeenth century.
335. Study of Flowers. °
Painted by Ko-r1n, signed ; seal end of seventeenth century.
336. A Pair—Chrysanthemums.
Painted by Ko-r1n, signed SEr-szr Korn ; end of seventeenth
century.
337. Jardiniére of Flowers.
Painted by Ko-rin, signed ; seal seventeenth century.
338. Iris in stream.
Painted by K6-riy, signed ; seal sevénteenth century.
339. Man crossing a stream.
Painted by K6-RIn, signed; seal seventeenth century.
340. A Pair—(1) Camelia by stream. (2) Chrysan-
. themums and Eularia Japonica.
Painted by K6-nIn, signed ; seal seventeenth century.
34
Japanese Kakémonos,
341.
342.
343.
344,
345.
346.
347,
348
e
349.
350.
351.
352.
353.
354.
A Pair—({1) Peonies. (2) Wisteria.
Painted by K6-nr1n, ‘signed ; seal seventeenth century.
Branch of ina
Painted by Ko-r1n, signed; seal seventeentn century.
Monkeys on Wisteria branch.
Painted by K6-R1n, signed; seal seventeenth century.
A Pair—(1) Tricosanthes. (2) Sho-kai-do.
Painted by K6-riy, signed, seal Ogata, seventeenth century.
Coxcomb and Convolvulus.
Painted by K6-r1n, signed, seal seventeenth century.
Set of 3—(1) Chrysanthemums. (2) Poppies
(3) Poppies.
Painted by H6-r1rsu, signed ; seal nineteenth century.
A Pair—(1) Bird and Flowers. (2) Flowers.
Painted by Ho6-1rsv, signed ; seal nineteenth century.
Cock with Chrysanthemums.
Painted by H6-1rsu, signed ; seal nineteenth century.
Set of 4—Flowers.
Painted by Ho-11sv, signed ; seal nineteenth century.
Jardiniere with Convolvulus, &c. |
Painted by Ho-r1su, signed ; seal nineteenth century.
Grotesque Dancer.
Painted by Ho-11su signed ; seal nineteenth ah
Branch of Camelia and Téa-bow!:
Painted by H6-11Tsv, signed ; seal nineteenth century.
A ee) Hollyhooks. (2) Cedars covered in
Ow.
Painted by Ho-11s0, signed ; seal nineteenth contery.
Iris in vase.
_ Painted by Ho-1Tsu, signed ; seal nineteenth century.
Korin School. 35
355. Set of 3—(1) Chrysanthemums. (2) Ki-ku-doshi.
(3) Chrysanthemums.
Painted by H6-rrsu, signed ; seal nineteenth century.
356. Set of 8—(1) Flowering grass. (2) Chrysan-
themums. (8) Cherry blossom.
Painted by H6-17rsv, signed ; seal nineteenth century.
357. A Pair—(1) Maple Tree and Woodpecker. (2)
Camelia and Prunus tree.
Painted by Ho-rrsu, signed ; seal nineteenth century.
858, A Pair—(1) Chrysanthemums. (2) Ferns.
Painted by Ho-1rsv, signed ; seal nineteenth century.
359. Set of 3—(1) Ben-Ten, with Castle in the
at (2) Cedar covered with snow. (8) Cherry
ree.
Painted by H6-11sv, signed ; seal nineteenth century.
860. Scarecrow, with Sparrows in rice-field.
Painted by H6-1Tsu, signed ; seal nineteenth century.
361. Flowering Grass, with Autumn Moon.
Painted by H6-11sv, signed ; seal nineteenth century.
362. A Pair—(1) Wild Flowers. (2) Study of Flowers.
Painted by H6-11Tsv, signed ; seal nineteenth century.
368. Sparrow on Bamboo.
Painted by H6-11sv, signed ; seal nineteenth century.
$64. Rice Plantation, with Fuji-yama in the distance,
Painted by H6-1Tsu, signed ; seal nineteenth century.
365. Burlesque Dancers.
Painted by H6-rrsu, signed ; seal nineteenth century.
366. Iris in pond.
Painted by Ho-1rsu, signed ; seal nineteenth century.
367. Nari-hira on horseback, Fuji-yama in distance
Painted by H6-17Tsv, signed; seal nineteenth century.
868. Sai-gio, a Wandering Priest tying his sandals,
Painted by H6-1rsv, signed; seal nineteenth century,
36
Japanese Kakémonos.
369.
370.
371.
372.
373.
374.
375.
376.
377.
378.
379.
380,
381.
382.
Wild Flowers.
Painted by H6-rrsu, signed ; seal nineteenth century.
Emperor visiting a waterfall with his suite.
Painted by H6-rrsu, signed ; seal nineteenth century.
Pine tree and Camelia laden with snow.
Painted by Kern-ya, signed ; seal eighteenth century.
Set of 4—(1) Camelia and Iris. (2 & 3) Con-
volvulus. (4) Tree.
Painted by H6-rrsv, signed ; seal nineteenth century.
Chinese Ran-Flowers.
Painted by Ho-rrsu, signed ; seal nineteenth century.
A Pair—Studies of Flowers.
Paintod by Ko-son, signed ; seal nineteenth century.
Cherry Blossom. 3
Painted by Sar-sar-KI-lont Korn, signed ; seal seventeenth
century.
A Pair—-(1) Chrysanthemum under cover. (&)
Cherry Blossom in rain.
Painted by H6-17Tsu, signed ; seal nineteenth century.
Hollyhock.
Painted by Kory, signed; seal seventeenth century.
Hyacinth and Tea-bowl.
Painted by Ho-rrsu, signed ; seal nineteenth century.
A Pair—Cherry Blossom and Birds.
Painted by Ho-11sv, signed ; seal nineteenth century.
Cat watching Butterfly.
Painted by Hara YEI-MEI, signed ; seal nineteenth century.
Flowers in Diaper pattern.
Painted by Ho-rrsu, signed ; seal nineteenth century.
A Pair—Plants in panels.
Painted H6-11su, signed ;- seal nineteenth century.
Korin School. 37
383.
384.
385.
386.
387.
388.
389.
A Pair—(1) Fuki Plant: (2) Miyo-gwa Plant.
Painted by H6-1rsu, signed ; seal nineteenth century.
Fuji-yama.
Painted by Kun-ya, signed ; seal cighteenth century, dated
1743,
Landscape with old Trunks of trees.
Painted by Ho-rrsu, signed ; seal nineteenth century.
Prunus tree.
Painted by K6-r1n, seal seventeenth century,
Crane.
Painted by Ocata Gxtsu-Ko, signed ; seal nineteenth century.
Eagle.
Painted by Ho-1rsv, signed; seal nineteenth century.
Heron and Lotus.
Painted by H6-1Tsv, signed ; seal nineteenth century.
38 Japanese Kakémonos.
a eh a OR Oi ee er en eran ie amma ROE TR EE ie eh a
SHIJO SCHOOL.
The Shijo School was founded in the latter part of the Highteenth
Century by Okio, an artist of rare and marvellous talent, especially ,
in the painting of Animals and Birds, from whence the School took
its name of Naturalistic. He and his followers forsook the painting
of mythical beasts and birds, and devoted themselves to the per-
fection of realistic art, in which they succeeded, as their works can
testify. Their productions are free from the somewhat gaudy and
decorative style of the older artists, and abound in graceful and
truthful colouring.
Amongst his numerous followers may be mentioned Rosetsu,
Sosen, Kei-bun, Ip-po, Yo-sai, Nangaku, Gek-kei, Choku-ken,
Oshin, Zéshin, Hoyen, and Nan-rei.
390. Maple Tree, and Swallow.
Painted by Kr1-nun, signed, seal nineteenth century,
891. Landscape and Fishing boat.
Painted by Ip-po, signed ; seal nineteenth century.
392. A pair—(1) Tortoise. on rock, (2) Heron in
marsh.
* Painted by Ip-po, signed ; seal nineteenth century.
393. Koi-fish or Carp.
Painted by Rat-suo, signed ; seal nineteenth century.
394. Shika, or Deer in field.
Painted by So-sen, signed ; seal nineteenth century.
395. Peony Flowers and Sparrow.
Painted by K4i-Buy, signed ; seal nineteenth century.
Shijo School. 39
396.
397.
398.
399,
400.
401.
402.
403.
404,
405.
406.
407.
408.
Seven Crows.
Painted by Kur-pun, signed ; seal nineteenth century.
Flight of Cranes.
Painted by Kut-buy, signed; seal nineteenth century.
Seki-rei, or, Wagtail on Willow tree.
Painted by Kur-bun, signed ; seal nineteenth century.
Set of 3—(1) Snow scene. (2) Chinese traveller
on horseback. (8) Snow scene.
Painted by Oxio, signed ; seal nineteenth century.
Group of Five Sparrows on tree.
Painted by Ox1o, signed ; seal nineteenth century.
A Pair—(1) Tortoise in stream. (2) Carp in
stream.
Painted by Oxto, signed ; seal eighteenth century.
Monkey with Gohei and Fan.
Painted by Oxto, signed ; seal eighteenth century.
Snipe or Shigi with reeds.
Painted by Ox1o, signed; seal eighteenth century.
Set of 3—(1) Landscape. (2) Boys collecting
Fir-Cones and Coast scene. (8) Abe-no-
nakamaro composing poetry to Fuji-yama in
the Bay of Tago.
Painted by Oxio, signed ; seal eighteenth century.
A Pair—(1) Heron in stream. (2) Crow on
Loquat-Tree.
Painted by Oxio, signed ; seal eighteenth century] |
Set of 83—(1) Sunrise. (2) Peonies. (8) Peonies.
Painted by Ox1o, signed ; seal eighteenth century.
Cotton-Plant and Bird.
Painted by Oxto, signed ; seal eighteenth century,
Cock, Hen and Chicken. Sales
Painted by Ox1o, signed ; seal eighteenth centuary.
40
Japanese Kakémonos.
409.
410.
411.
412.
413.
414.
415.
416.
417.
418.
419.
420.
421.
422.
Rat on Feather-brush.
Painted by Ox1o, signed; seal eighteenth century.
Baby crawling.
Painted by Oxto, signed; seal eighteenth century.
Landscape.
Painted by Ox1o, signed ; seal eighteenth century.
Mandarin Ducks by River, with Moon reflected
on the water.
Painted by Ox1o, signed ; seal eighteenth century.
Monkeys up a tree.
Painted by Oxio, signed; seal eighteenth century.
Carp in stream.
Painted by Oxio, signed ; seal eighteenth century.
Puppies at play.
Painted by Oxto, signed ; seal eighteenth century.
Ai-fish in stream.
Painted by Ox1o, signed ; seal eighteenth century.
Kan-zan and Ji-toku.
Painted by Oxto (attributed to him by his son Otam).
A Pair—Monkeys seated on Fungus.
Painted by So-srn, signed ; seal nineteenth century.
A Pair—Monkeys.
Painted by So-sEN, signed ; seal nineteenth century.
A Pair—(1) Wild Boar. (2%) Wild Ox.
Painted by So-sEn, signed ; seal ninetenth century.
A Pair—Stag and Hind.
Painted by So-sen, signed ; seal nineteenth century.
Stag and Hind.
Painted by So-sen, signed ; seal nineteenth century.
424,
425.
426.
427.
428.
429.
430.
431.
432.
433.
434.
435.
436.
Shyo School. 41
. Monkeys.
Painted by So-ssn, signed ; seal nineteenth century.
Group of Monkeys with Waterfall.
Painted by So-sun, signed ; seal nineteenth century.
,
Group of Monkeys.
Painted by So-sEn, signed ; seal nineteenth century.
Scene—Interior of Court.
Painted by Yosal, signed Yosar Kikucui-Taxeyasv ; seal
nineteenth century.
Carp in stream.
Painted by Yosat, signed when 89 years old ; seal nineteenth
century.
Old Couple crossing a bridge.
Painted by Yosa1, signed ; seal nineteenth century.
Yorimasa about to Slay the Nuyé.
Painted by Yosal, signed; seal nineteenth century.
Snow Scene, with Deer.
Painted by Ip-po, signed ; seal nineteenth century.
Mouse nibbling at a Melon.
Painted by Nan-Gakv, signed ; seal nineteenth century,
Wild Ducks and Flowers.
Painted by Ozv1, signed ; seal nineteenth century.
Pigeon.
Painted by Go-sHuy, signed ; seal nineteenth century.
A Pair.—(1.) Waterfall (Nik-ko). (2.) Waterfall
(Urami).
Painted by Dan-Ho, signed ; seal nineteenth century.
Waterfall (Kiri-furi).
Painted by Day-Ho, signed ; seal nineteenth century.
Carp and other Fish in stream.
Painted by SHIRA-IsH1 ToKO, signed ; seal nineteenth century.
Japanese Kakémonos.
438.
. A Pair.—(1.) Landscape. (2.) Mount Yoshino.
Painted by Ral-sx, signed ; seal nineteenth century.
Deer under tree.
Painted by So-sen, signed ; seal nineteenth century.
489. Ox
Painted by OKIo, signed ; MAruI-yAMA-SHUsUI, KAKIBAN or
Artists-drawn, seal eighteenth century.
440. Cat
441.
444,
445.
446
447.
448
449.
450.
Painted by Oxio, signed ; seal eighteenth century.
Pine trees.
Painted by Ox1o, signed ; seal. Dated 1781.
. Puppies.
Painted by Oxio, signed ; seal. Dated 1772.
. Pomegranate and Birds.
Painted by Ozu1, signed ; seal nineteenth century.
Birds and Flowers.
Painted by Kin-rio, signed ; seal nineteenth century.
A Ghost.
Attributed to Oxio, eighteenth century
Birds and Fuji-yama.
Painted by Nopukun#, signed ; seal nineteenth century.
Set of 8—(1 and 2) Landscapes. (8) Fuji-yama.
Painted by Maruyama O10, signed ; seal nineteenth century.
Cherry-blossom.
Painted by Kwanpo, signed ; seal nineteenth century.
Weeping Cherry.
Painted by O-sHin, son of Oxio, signed; seal nineteenth
century.
Waterfall.
Painted by Oxio, Dated 1780, signed; seal eighteenth
century:
Shijo School. 45
451. Owl.
Painted by Oxo, seal eighteenth century.
452. A Pair—Signs of the Zodiac.
Painted by Ox10, seal eighteenth century.
458. Taikobo engaged in fishing.
Taikobo, one of the ministers of Si Peh, who, for many
years previous to his taking office, lived in obscurity and
poverty, passing his time in fishing, but always without
success. However, in later years, he proved his great
wisdom and skill, and ended his days in great wealth
and magnificence.
Painted by Oxto, signed ; seal eighteenth century.
454. Set of 3—(1) Woman picking peach in stream.
(2) Man with firewood. (8) Horai.
Painted by Ox1o, signed ; seal eighteenth century.
455. Sage with Children.
Painted by Ox1o, signed ; seal eighteenth century.
456. Kioto Woman carrying firewood.
Painted by Kwa-vEn, signed ; seal nineteenth century.
457. A Pair—Monkeys.
Painted by So-sny, signed; seal eighteenth century.
458. Carp in stream.
Painted by Ox1o, endorsed by his son Oray, signed; seal
eighteenth century.
459. Pigeons.
Painted by GokEI, signed ; seal nineteenth century.
460. Duck diving.
Painted by Ozul, signed ; seal nineteenth century.
461. Carps in stream.
Painted by Ox1o, signed; seal eighteenth century.
- 462. Cock and Hen. |
Painted by Ox10, endorsed by Osal, signed ; seal eighteenth
century.
463. A Chinese Lady.
Painted by Oxio, dated 1780, signed; seal eighteenth
century.
44 Japanese Kakémonos.
464. Pigeon with Pine and Prunus tree.
Combination picture painted by Ox1o-Ozu1-Ozv, signed ; seal
nineteenth century.
465. Carp in Waterfall.
Painted by Yei-shin, signed; seal nineteenth century.
466. Carp and Waterfall.
Painted by Nisu1. signed ; seal nineteenth century.
467. Pigeons on Grape Vine.
Painted by Suo-rxI, signed ; seal nineteenth century.
468. Stork on rock.
Painted by Rensal, signed ; seal nineteenth century.
469. Birds and Chrysanthemums.
Painted by Sutv-so, signed ; seal nineteenth century.
470. Geese in reeds.
Painted by Ha-ko, signed; seal nineteenth century.
471. Tortoises and Palm.
Painted by SHo-TEI, signed ; seal nineteenth century.
472. Three Crows.
Painted by K1y-sHiv, signed ; seal nineteenth century.
473. Falcon,
Painted by Nan-Ko, signed ; seal nineteenth century.
474, Monkeys on a Cedar tree.
Painted by Krv-su1, signed ; seal nineteenth century.
475. Stump with reeds. a
Painted by Cu1u Kwan, signed ; seal nineteenth century.
4'76. Insects and Grass.
Painted by Senso, signed ; seal nineteenth century.
477. Figure of Kwan-non with attendants.
Painted by Minamoto Oxio, signed ; seal eighteenth century.
y Kishi: School. 45
KISHI SCHOOL,
The Kishi School was founded by Kishi Doko about the end of
the Eighteenth Century, and in many ways closely resembles that.
of the Shijo School, its followers devoting themselves more to the
realistic style of painting than tke decorative, their birds and
flowers being most lifelike in their appearance, while their land-
Scapes, as depicted by Bun-rin and others, have no equals in any
other school for their adherence to the truths of nature.
Kishi has amongst his followers, Gantai, Ganrio, Renzan, Kwazan,
Giokusen and Bunrin, all of a very high standing.
479. Eagle on rock.
Painted by Ganral, signed ; seal nineteenth century.
480. Eagle on rock.
Painted by Haxu-vy, signed ; seal nineteenth century.
481, Landscape.
Painted by Boxuxul, signed ; seal nineteenth century.
482. Tortoises.
Painted by Unua, signed ; seal nineteenth century.
483. Bird on. a. tree.
Painted by Yoxoxu-sal, signed ; seal nineteenth century
484, Kingfisher: on a tree.
Painted by Rirsu-sut. signed ; seal nineteenth century.
485. Lotus and Drake.
Painted by Szr-sai, signed ; seal nineteenth century.
* - 486. Grape pes. sae . Pe ht ak ;
vi fae Painted by ark signed ; 3 seal ear aauabes d
‘7 Landscape. baat
ees by poner: aionee seal nineteenth ‘century.
488. Carp. | e
Ne Painted by GANTAI, signed ; seal nineteenth century.
Si is as not improbable that, at a i Ate date, Messrs. Denodleeivelt
may be able to exhibit the remaining pictures of this
vemarkable collection. -A catalogue of the second portion =
may be obtained on application.
ne EE Eanes
Mesias ‘ : '
_. PRINTED BX WATERLOW & SONS LIMITED, LONDON WALL, LONDON.
JAPANESE A
W. J. ALT, ESQ.
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SCIENCE AND ART DEPARTMENT
OF THE COMMITTEE OF COUNCIL ON EDUCATION,
SOUTH KENSINGTON.
BETHNAL GREEN BRANCH MUSEUM.
CATALOGUE
OF A
COLLECTION OF ARTICLES OF
| JAPANESE ART
LENT FOR EXHIBITION
BY
W. J. ALT, Esq.
LONDON:
Printed for Her Majesty’s Stationery Office
BY GEORGE E..EYRE AND WILLIAM SPOTTISWOODE,
PRINTERS TO THE QUEEN’S MOST EXCELLENT MAJESTY.
1876.
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CONTENTS.
INTRODUCTION - " is
LAcquER WARE - = .
Woop anv Ivory Carvines, &o. ~
HousrHoLtp Gops - - -
CLOISONNE oR ENAMEL WARE -
BRONZES ss - - - -
Arms AND ARMOUR - -
Sworps - - - -
SPEARS - - « a
Lone Bows anp Arrows, &. -
PorTreRY - - - -
Dresses, SILKEN MATERIALS, AND EMBROIDERIES -
ScrEENSs, Books, AND PicrurES -
MIscELLANEOUS - - -
Corns - - - -
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A
INTRODUCTION.
No greater testimony to the value of Japanese Art, and
to the purity of taste and originality of design displayed
by Japanese artists is necessary, than the fact that it is
largely influencing our own Art manufactures.
Designs for shapes and decorations of pottery, patterns
and combinations of colours in textile fabrics, painting of
fans, enamel work ; in fact, everything which the European
craftsman is capable of imitating or adapting from these
remarkable people, has been largely seized upon and
copied.
Many of the charming pieces which at once attract
attention by their originality of shape and beauty of
decoration among the works of Minton—the dinner and
dessert services, exhibiting graceful floral sprays, birds, and
insects, dropped carelessly over the surfaces ; and the artistic
sketches dashed irregularly on ladies’ fans, are of Japanese
conception ; and to them also we are indebted for the
impetus given to the manufacture of Cloisonné Enamel by
Elkington and others.
Our French neighbours were before us in discerning and
appreciating this new School of Art, having had the ad-
vantage of us in securing, through the exertions of their
minister in Japan, the first really good illustrative collec-
tion of Art works from that country for their Exhibition of
1867.
Japan was only opened to foreign trade in 1859, and in
less than ten years the artof the countrybegan to influence
that of Europe. China has been open to intercourse with us
since 1834, and for two hundred years prior to that date,
the Kast India Company brought us its products ; and yet
the art of that immense Empire, the largest in the world,
has had no marked effect on ours, The reason of the
superiority of the Japanese in this respect is not difficult
to discern.
The closer we adhere to nature, the purer will be our
art. The Japanese, like the Greeks of old, go to nature
for their models; she has lavished her choicest gifts upon
them, and they fully appreciate her bounty; she abhors
uniformity, so do they, and as they see things, so they
attempt to reproduce them. |
A 4
Vili INTRODUCTION,
Our idea of how to make a beautiful bouquet. is to strip
a variety of the finest blooms from their stems, put them
on wires, arrange them regularly in a bunch jammed closely
together with sprays of ferns and a few leaves interspersed,
and finish off the whole with ornamental paper. Thus,
nature is abused, and the senses are overpowered by a con-
centration of scents, and the arbitrary arrangement of colour.
The Japanese take one or more branches or sprays of a
plant, with all the leaves and flowers intact, and place
them with careless taste in their appropriate bouquet-
holders ; no one with true artistic feeling or love of nature
would hesitate in preferring the latter mode.
In the structure of their temples and country houses, and
in laying out the grounds connected with them, they adapt
them to the locality. The eye is never offended by seeing
a square brick or stucco house planted on a beautiful hill-
side among fine old trees, a rustic and graceful structure
placed in the heart of a city, or a Dutch garden laid out on
a steep slope; but the hills and valleys, the jutting rocks,
or the bed of a stream full of rough boulders, are made to
blend with man’s handiwork. No highly-kept grounds
come to an end against a bare wall, or are separated from a
rough meadow by an ugly fence, but in wandering about
such gardens, the observer fails to detect where the land-
scape gardener leaves off, and nature begins. At the same
time where space is of value, as in their cities, they can
turn a few square feet of back yard into a miniature land-
scape of hill and dale, rocks and waterfalls, streams full of
fish, old trees and flowering shrubs ; which, looked at from
the level of the floor of the room upon which the observer
reclines, have all the effect, and give as much pleasure
under the circumstances, as a view of real scenery. .
At the head of each section in the following catalogue,
a brief description is given of the objects contained in it,
and of their uses; and it should be specially noted that
every article, however much art is expended upon it, has
an use, and has not been produced simply for ornament :
the principle on which art should be displayed, and certainly
the only way in which it can be properly enjoyed or
appreciated. .
Jn addition to the practical evidence we have referred to,
of the value that is set upon Japanese Art, we are glad to
see that works are being published upon it. We refer to
the “ Keramic Art of Japan,” two magnificent, but expen-
sive, volumes, by Messrs. Audsley and Bowes, of Liverpool ;
and an admirable series of articles in the “Art Journal,”
INTRODUCTION. ix
(also an expensive publication), by Sir Rutherford Alcock,
K.C.B. Neither of these books come within the reach of
the million, and we trust, ere long, a comprehensive work
on the subject will be given to the public, at a price within
the reach of all.
In describing some of the objects in this collection, we
have been assisted by the perusal of an interesting series
of “Japanese Notes,’ and other articles which have ap-
peared in the “Japan Mail,” a journal published in Yoko-
hama, the valuable information and excellent writing in
which claim for it a much wider circulation than it already
possesses.
Before concluding this brief introduction, it is desirable
to say a few words as to the origin and purpose of the
collection which the following catalogue and remarks are
intended to describe. Many of the principal objects were
presents from princes and officers of the Japanese Govern-
ment, during a twelve years’ residence in Japan (from 1859
to 1871), and are for the most part of a character which
could not be purchased. These have been supplemented by
other examples, with a view to as complete an illustration
of the Industrial Arts of Japan as could be brought within
a reasonable space, irrespective of extreme rarity on the
one hand, or commonness on the other, so long as the
objects were really representative of the class to which
they belonged. }
W. J. A.
Woburn Park, Weybridge, :
April 1876.
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CATALOGUE.
LACQUER WARE.
(JAPANESE “ URUSHI-MoNo”),
Japanese give the year 724 of our Era as the date of the
discovery of the art of lacquering ; but those amongst them
who have given attention to the subject, fix the date at
A.D. 889 or 900.
It would appear to have attained to some perfection in
the year 1290, for the name of a distinguished painter in
lacquer, who lived at that time, is still handed down as the
founder of a particular school of art in lacquer painting. ©
From that time it developed until it attained its greatest
perfection in the seventeenth century. In his “ Descriptive
Catalogue of Works of Art in Japanese Lacquer ” (in the
possession of Mr. Bowes), Mr. Audsley says, “ All informa-
“ tion I have been able to collect relative to the art from
“ natives, and those who have visited Japan and had an
“opportunity of witnessing the process of manufacture,
“ goes to prove that time can scarcely be calculated in the
“ manipulation of the high-class ware; many months, and
“ even years, are required to produce a highly-raised piece
“ of lacquer. Not only the immense time expended, but
“also the great skill demanded in the manipulation of
“ highly relieved lacquer, have materially affected its value. -
Lacquer ware is prized, in the first place, in proportion
to its delicate and accurate finish, representing artistic
“ and manipulative skill; and in the second, in proportion
‘* to the degree of relief given to its ornamentation, repre-
“ senting time, care, and trouble.”
In these remarks we fully concur. It is to be remem-
bered they refer to specimens of old work, of which this
collection almost entirely consists. Those few articles
which are an exception to this rule, are specially marked
, oe "i JAPANESE ART.
“modern.” It is also noted to which of the three classes
of lacquer each article belongs; viz. raised, flat, or en-
crusted.
Box. Raised gold lacquer. In the form of an open book, show-
‘ing a picture (a landscape) at the open page; the leaves are
marked out at the side, and the design at the back is common
on book covers ; a tablet marks the title. Old Japanese. 1;
This, and the following objects to No. 23, are small boxes of many
shapes; and the ingenious manner in which some of the designs
have been adapted to the uses for which the boxes are intended, is
very remarkable.
Box. Raised black and gold lacquer, round. With the Kiku
(chrysanthemum) flower, which is the Emperor’s. crest or em-
blem, laid carelessly over a hexagonal ground-pattern. The
way this diapered design is adapted to the shape is to be noticed.
Old Japanese. 2.
Box: | Raised variegated lacquer. In the form of a pocket-book,
of which the folds and one-sided appearance are carefully copied.
The design is truly Japanese in character; the rising moon
appears through clouds,-pine-trees are in the landscape, and a
flight of cranes; the whole gracefully typical of long life and
prosperity. Old Japanese. 3.
Box. - Flat gold lacquer, bound with metal. Design of a crane
flying downwards over cedar branches; inside the lid are a
Kiri-mon (an Imperial crest derived from the flower of the
Paulownia) and two others. Old Japanese. %.
Box. Raised black and gold lacquer. Model of an old armour-
trunk. Very old Japanese. 5.
Mepticrwe Box, in three divisions. Raised gold lacquer ; pine-
trees and cherry-blossoms form: the design, on which are
_-sprinkled the Emperor’s crest and those of the Prince of Cho-
shiu and another. ‘These medicine boxes hold small pills and
lozenges in the different compartments, and are slung to the
girdle by a Nétsuké or toggle. Old Japanese. 6.
MepicrwE Box, in two divisions. Raised black and gold lacquer,
bound with metal, round in form; the top of the lid represents
a Kiku flower ; the different diapers on each tier and the side of
the lid are very delicate. Old Japanese. ye
Box, in three tiers. Raised variegated lacquer, in form of a moun-
tain basket used for carrying green food for cattle; this idea is
carried out by the blossoming ivy (an Imperial emblem) that
winds over the box, and in the representation of the ropes that
fasten the basket to the back of the carrier. Old Japanese. 8.
Box. Raised gold lacquer, jar-shaped, for holding tea-dust ; pine-
trees, bamboos, and a crest are depicted on it. Old Japanese.
: 9.
a
=
LACQUER WARE. 3
Box. A beautiful specimen of raised gold lacquer, in the form of
a cockle-shell ; the sides are of burnished gold lacquer. Shells
of this shape and size, painted on the inside with various sub-
jects, are used in playing a game. (See Nos. 121, 122.) Old
Japanese. 10.
Box. Flat black and gold lacquer, bound with metal, square ;
design of a water-lily leaf and the crest of the Prince of Nambu.
Old Japanese. 11.
INCENSE-POWDER Box. Avanturine lacquer, eight-sided, jar-
shape, with metal top. Old Japanese. 12.
Box. Raised and flat variegated lacquer. A delicate specimen,
in the shape of the knot that fastens a man’s ode or waist-band ;
butan or peony flowers and a floral design cover the top; the
sides show water-lilies in water. Old Japanese. 13.
Box with drawer, square, raised on feet. Flat variegated medal-
lions on a burnished gold lacquer ground ; the medallions vary
in shape, and are exquisite in execution. This specimen isa
very fine ‘one, and the designs for the medallions should be
remarked. Old Japanese. 14.
Box, round and flat in shape. Raised black and gold lacquer,
with design of a dwtan or peony and the crest of the Prince of
Arima. Old Japanese. 15.
Box, on three feet, containing tray. Raised black and gold
lacquer; a network diaper studded with gold nails, with leaves
of a flower ornament the lid. Old Japanese. 16.
Box, in form of a nut. Raised gold lacquer. Old Japanese,
ve
‘Box, round. Avanturine lacquer, with a crest as ornament. Old
Japanese. 18.
Box, flat and oblong. Raised gold lacquer, with Kikw (chry-
santhemum) flower. Old Japanese. 19.
MEDICINE Case, containing three small boxes. Variegated lac-
quer. In the form of a Kotok or harp ; this design is carried
out in the reproduction of the woodwork and strings of the
instrument. This and No. 21 are, very beautiful examples.
Old Japanese. bi ‘ 20.
Box. Raised variegated lacquer. It represents Abé no Waki-
maru, a distinguished poet, sitting in meditation. The dusted
ground at the sides of this piece and some others in the collec-
tion is peculiar to the very finest lacquer ware; the expression
of the face is well carried out. Old Japanese. 21.
Box, round. Flat variegated lacquer. On it are depicted in
colours Dai-koku, the God of Plenty, and his emblems; the
side is sparsely dusted with gold. A specimen of a very ex-
ceptional kind of lacquer. Old Japanese. 22.
rie - JAPANESE AR.
Box, round. Raised work in some composition, representing two
Kugé or Nobles leading an aged man, on a black lacquered
ground. A very unusual style. Old Japanese. 23.
Box, square. In raised lacquer, on a black ground, are placed
irregularly over the surface cash, or copper coins. An inex-
pensive example. Modern Japanese. 24,
Box. A crane’s egg, lacquered in gold. Modern Japanese. 25.
Box, on feet. A crane’s egg, lacquered in gold. Modern
Japanese. 26.
Mxpictne Box, in four divisions. Flat black and gold lacquer.
Old Japanese. :
Letter Box. Flat variegated lacquer ; the ground black, with
the pattern thrown across it diagonally ; the design shows a
basket, of the same kind as described in No. 8. Old Japanese.
28.
This box and the two following are used for the transmission of
letters by the hand of a servant, and are returned to the bearer; the
cords for securing the lid, after being tied, are fastened with paper,
and sealed.
Lutter Box, oblong. Close-grained hard wood. The inside
is exquisitely lacquered in raised gold; the design, which is
continuous when the bottom and lid are placed side by side,
is a landscape of mountains in the distance, the sides of which
are covered with pines, firs, maples, willows, &c.; a torrent is
in the foreground, and a peasant carrying trusses of corn is
leading a horse similarly laden ; peasants are seen on the hill-
sides, also carrying burdens. Old Japanese. 29.
One of the characteristics of Japanese Art is the conscientious manner
in which the entire surface of a work is decorated, whether the parts
be hidden or exposed; the interiors of drawers and lids of boxes
being often equal in beauty to the exteriors. In this example the
artist has carried the idea beyond the extreme in lavishing his skill
upon the interior of an apparently simple wooden letter case, by
which he produces an agreeable surprise to the person opening it.
Lerrer Box. Plain varnished wood, with edges of gold lacquer.
Modern Japanese.
Box with Tray. Raised black and gold lacquer. Ho-hos
(fabulous birds, answering to the phoenix) flying, and sprays
of leaves and flowers are shown on a black»ground ; the inside
of the lid has an avanturine ground, which has the crest of the
Prince of Tosa overlaid in gold. Old Japanese. 31.
This and the following objects to No. 36 are for holding sufficient food
for one meal, and are used in journeys and visits. The trays with
which some of them are provided are for holding sweetmeats, while
the body of the box is filled with rice, fish, omelette, &c.
Box with Tray, similar in shape to No. 31. Raised variegated
lacquer ; the ground isavanturine ; on it is depicted a landscape,
LACQUER WARE. 5
which is continued round the four sides; on the lid is a moun-
' tain shrine, and inside it a design of flowers. Old Japanese.
0 B82.
Box, similar in shape to No. 31. Flat variegated lacquer on
black ground ; on the sides and lid are landscapes with moun-
tains, trees, and temples, seen through clouds. Old Japanese.
33.
Box. Encrusted lacquer ; mother-o’-pearl butterflies (the crest of
the Prince of Inshiu) are inlaid on a ground of avanturine
lacquer. Old Japanese. 34.
Box. Hard, close-grained wood, lacquered, and inlaid with tor-
toise-shell, coloured ivory, mother-o’-pearl, and wood. On the
lid are ho-hos (see No. 81); bamboos and convolvulus are
entwined round the sides; the insects deserve attention. A
specimen of a rare kind of Liu Kiu manufacture. Old Japanese.
35.
Box. Rough split wood, with imitations of copper cash lacquered
on the sides. Old Japanese. 36.
SWEETMEAT Box, in two tiers, on raised stand. Flat variegated
lacquer medallions on a dark avanturine ground; the shape is
curious, and it bears a crest similar to that of the Prince of
Matsmai. Old Japanese. 37.
SwEETMEAT Box, in three tiers, resembling a pile of books.
Raised gold lacquer, with a figure of a warrior, and an inscrip-
tion on the lid. The cover is a plain black lacquered box. Old
Japanese. 38.
SwWEETMEAT Box, in four tiers, round. Raised black and gold
lacquer ; a floral design on a plain ground. Old Japanese. 39.
Luncueon Box, in five tiers, with two lids, square. Encrusted
lacquer, with shells, coral, and seaweed, closely copied from
nature, displayed on a black ground. Old Japanese. 40.
In their country excursions and pic-nics, of which the Japanese are
so fond, these boxes are important adjuncts, as one of them is
capable of holding an entire meal for several persons. ‘The deepest
compartment holds the boiled rice, while in the cthers are disposed
preparations of omelettes, cutlets of game or chicken, fish, prepared
vegetables, cake, and sweetmeats.
LuncHeon Box, in five tiers, with two lids. Raised black and
gold lacquer ; a checquered pattern in black and gold (crests
being inscribed on the black checquers) overlapped diagonally
by a design of pine branches. Old Japanese. 4l.
Luncueon Box, in five tiers, with two lids. Raised gold lacquer ; _
cranes and young fir-trees on an avanturine ground. Old
Japanese. 42.
APPARATUS FOR Boring Water. Used for travelling, or on
pic-nics, The boiler, furnace, mountings, and handles are of
6 JAPANESE ART.
white metal; it has a drawer for charcoal. Flat black lacquer,
with crests in gold. The covering of red cloth is embroidered
with the same crest. Old Japanese. 43.
APPARATUS FOR BortiIng WatER. (Companion to No. 438.) It
contains two drawers, and holds a kettle of white metal. Old
Japanese. 44,
These are carried on either end of a wooden bar, across the shoulders
of a servant, and accompany a prince on his journeys or excursions.
Luncnron Box. Containing a food box in four tiers, a saki (or
spirit) bottle on a deep tray, a square plate, a deep tray for
holding five small oblong plates, and a saki cup. Flat lacquer ;
the top and sides show landscapes with a diapered bordering,
and the sides of the boxes and tray are also diapered ; the saki
cup is of plain dull gold. Old Japanese. 45.
LuncHEon Box. Containing a food box in four tiers, two metal
saki bottles, and a tray. Raised black and gold lacquer. Old
Japanese. 46.
LuncHron Box, in the shape of a jar. Engraved gold lacquer,
on different coloured grounds. It makes when taken apart the
following pieces :—rice-bowl, two sweetmeat trays, teapot, stand
for tea-cups, and two tea-cups. Old Japanese. 47.
LuncHEon Box, in the shape of a tea-jar. It forms when taken
to pieces for use the following articles :—rice-bowl, saki bottle,
three saki cups, four food trays divided by partitions pierced
for holding the saki bottle, and a shallow bowl which forms the
' cover.
The exterior of the body of this unique specimen is in rough
red lacquer in imitation of earthenware, the upper part repre-
senting the glazed coating usual on these jars. The interior is
of fine gold lacquer on a coral red ground, the pattern being
sprays of flowers interspersed with the crest of a Prince. The
whole when closed is held together in a netting, and fastened
over the top with a covering of brocade, identical with the jars
in common use at the retail tea-shops, of which it is, in its ex-
terior, a faithful imitation, Old Japanese. 48.
Stand or TABLE, fitted with a tray, supported on six legs. Red
lacquer, with edges of dull gold lacquer. The form is hexagonal,
the centre of the tray being a raised holder. Old Japanese.
r ; 49.
This is the kind of stand on which the three ceremonial cups referred
to in Nos. 74 to 80 are handed round at wedding feasts and other
joyful occasions.
Tray. Raised gold lacquer on a black ground; the design is of
waves beating on jagged rocks, and two cranes in flight above.
Old Japanese. 50,
{
LACQUER WARE. 7
Tray. Raised gold lacquer on a black ground ; to match No. 50,
and fitting into it. Old Japanese. 51.
These and the following objects to No. 54 are trays on which presents
(often articles of food) are conveyed, wrapped in a silken cloth, and
accompanied by the typical morsel of dried fish and piece of sea-
weed, which are to remind the giver and receiver that they are the
descendants of a nation of poor fishermen, who, by their thrift and
frugality have raised themselves to their present wealth and civiliza-
tion.
Tray. Raised gold lacquer on black ground; on it are a branch
of mumé or plum-blossom, and a crayfish; beautiful in execu-
tion. Old Japanese. 52.
TRAY. Raised gold lacquer on avanturine ground; hiku (chry-
santhemum) and other flowers, a crane, and its young, form
the decoration. Old Japanese.
Tray. Raised gold lacquer, on a groundwork lacquered to imi-
tate the grain of wood ; a mats (fir-tree) stands in the midst of
bamboos and mumé (plum-blossom); the edge is. beautifully
diapered with bamboos laced lozengewise, a mumé blossom
being in the centre of each lozenge. This example is, in several
ways, very uncommon. Old Japanese. 54.
Tray on feet. Oval, with indented corners; flat variegated
lacquer ; young fir-trees, sakwra (flowering cherry) trees, with
bamboos in the distance; the artist’s name is written on the
trunk of the largest bamboo. This is a very good specimen of
flat lacquer. Old Japanese. 55.
Tray. Flat black and gold lacquer; a broken line divides the
pattern diagonally ; one half is curiously diapered with pine-
trees, on the other are quaintly drawn cranes. Old Japanese.
56.
Tray or STAND, on three feet, octagonal. Raised lacquer, of great
richness. The design on this specimen is remarkable for the
fact that the characters of a verse or proverb are worked in (in
silver) to form part of the rock-work, trees, &c. of the land-
scape. The Shogun’s crest is repeated five times on the ground-
work, and forms the ornamentation of the outer edge. This is
evidently one of a set of articles in which similar verses were
probably illustrated. Old Japanese. 57.
Bowts, a set of three. Raised variegated lacquer on a dull gold -
ground. Seven different fish, a crab, shells, &c. are pourtrayed
in a remarkably life-like manner. Modern Japanese.
, 58 to 60.
Rice Bow. Design of flowers engraved in gold on red lacquer
ground. Old Japanese. 61,
Disu. Gold lacquer on deep red ground; decorated with budding
weeping-willow, branches of which are used as a kind of
*‘ Christmas-tree ” at the New Year, in Japan. The decoration
39016. ; B
i 8 JAPANESE ART.
i _ illustrates the first month (“Shd gwats”) of the Japanese
I Calendar. Old Japanese. 62.
This and the following to No. 73 form a set of twelve dishes, such as
are used by the wealthy at their meals ; they illustrate in their
decoration the months of the year,
Disn. Gold lacquer on deep red ground ; decorated with sakura
(flowering-cherry), illustrating the second month (“ Ni gwats i
i of the Japanese Calendar. Old Japanese. 63.
: Disu. Gold lacquer on deep red ground ; decorated with mumé
ee (plum-blossom) and pheasants, illustrating the third month
(“San gwats”) of the Japanese Calendar. Old Japanese.
64,
Dis. (Gold lacquer on deep red ground, with decoration illus-
41 trating the fourth month (“ Shi gwats”) of the Japanese
Ii) Calendar. Old Japanese. 65.
Disu. Gold lacquer on deep red ground ; decorated with iris
Ht and cranes, illustrating the fifth month (“ Gdégwats”) of the
Ih Japanese Calendar, Old Japanese. 66.
Disu. Gold lacquer on deep red ground; decorated with a
subject of fishing by torchlight, illustrating the sixth month
(“ Rokgwats”) of. the Japanese Calendar, Old Japanese.
67.
i Disn. Gold lacquer on deep red ground; decorated with an
| eagle on a bridge, illustrating the seventh month (“ S-chi
inte ewats”) of the Japanese Calendar. Old Japanese. 68.
| ! Disn. Gold lacquer on deep red ground ; decorated with wild
| geese, illustrating the eighth month (“ Hachigwats ”) of the
Japanese Calendar. Old Japanese. 69.
Dis. Gold lacquer on deep red ground; decorated with hiku
(chrysanthemum) flowers and cranes, illustrating the ninth
month (“ Kiugwats”) of the Japanese Calendar. Old
Japanese. 70.
il Disu. Gold lacquer on deep red ground ; decorated with maples,
illustrating the tenth month (“ Jiugwats”) of the Japanese
Calendar. Old Japanese. 71.
Disu. Gold lacquer on deep red ground, with decoration illus-
trating the eleventh month (“ Jiu-ichigwats”) of the Japanese
|| Calendar. Old Japanese. 72.
Disu. Gold lacquer on deep red ground ; decorated with an old
mats or pine-tree, illustrating the twelfth month (“ Jiu-ni-
ewats”) of the Japanese Calendar. Old Japanese. 73.
Hy Wre or “ Sant” Cups, set of three. Raised gold lacquer on
Bl bright coral red ground ; a philosopher and his pupils are re-
fl peated on each cup, engaged in different occupations. Old
a Japanese. 74 to 76,
LACQUER WARE. 9
These three cups are a complete set, and are used at wedding feasts
and other joyful occasions ; they form a very important feature at
the marriage ceremony, both bride and bridegroom drinking three
times out of each cup, and observing a strict etiquette in the
rotation.
Sax1 Cur (one of a set, like Nos. 74 to 76). Raised gold lacquer
on a coral red ground, the subject being cranes with a nest of
young ones, Old Japanese. 77.
Saki Cups, a set of three. Raised gold and variegated lacquer
on a coral red ground; on each are representations of articles
in use in a Japanese house of the best class, both inside and
underneath the cups. (See No. 74.) Old Japanese.
78 to 80.
Tray. Wood, round; on it, in raised gold lacquer, are “ Jiu-
ro-jin ” and a tailed tortoise. Japanese, 81.
Tray, hexagonal. Tortoise-shell, lacquered in gold. Modern
Japanese. 82.
Trays, a pair. Tortoise-shell, lacquered in gold, Modern
Japanese. 83, 84.
Dovuste Tray. Formed of dried fungus, and lacquered in black.
Old Japanese. 85.
Bowt and Cover. Plain lacquer; the lid forms a tray to hold a
tea-cup when handed to a guest. Modern Japanese. 86.
Sranp for Tea-cup. Raised black and gold lacquer, with design
of cranes flying from a waterfall. Old Japanese. 87.
TrA-cups and Covers, a pair. Made from sections of bamboo,
and plainly lacquered in brown. Modern Japanese. 88, 89.
Box. Raised variegated lacquer on avanturine ground; a floral
pattern is laid over it, which includes the peony ; the lid has
the appearance of folded leather-work, such as the Japanese are
in the habit of using in the manufacture of similar boxes; the
crest of the Prince of Todo is laid on in thin plates of silver
and gold; the handles are also of silver. Old Japanese. 90.
Box. For holding despatches and papers; fine black and gold
raised lacquer ; on the lid is depicted a landscape of moun-
tainous scenery, and rafts floating down a river. Old Japanese.
a};
Inx-stanp. (To match No. 91.) ~ It contains the usual ink-
stone, water-bottle, and tray for pens. Inside the lid is a land-
scape with sea and boats ; fishing-nets are drying on the shore ;
the water-bottle, which is in silver, represents the moon rising
through clouds. Old Japanese. 92.
The Japanese write with Indian ink, which is rubbed down on the
stone after being moistened with a little water; their pens are fine
hair brushes.
ES
10 JAPANESE ART.
Writinc Tasnie. Encrusted mother-o’-pearl on black lacquer.
An uncommon specimen, often imitated in an inferior manner,
by the modern workmen of Nagasaki. Old Japanese. 93.
“In the Island of Taka-sago, in the province of Harima, stands a
** pine-tree called the ‘ Pine of mutual old age.’ At the root the
“ tree is single, but towards the centre it springs into two stems—
“ an old, old pine, models of which are used at weddings as a
“ symbol that the happy pair shall reach old age together. Its
“ evergreen leaves are an emblem of the unchanging constancy of
“ the heart. Figures of an old man and woman under the tree
“ are the spirits of the old pine.”—See Mitford’s “Tales of Old
Japan,” vol. 2, p.250. The flight of cranes and the tailed tortoise
also convey the same sentiment of long life and happiness.
Ink-stanp. (To. match No. 93.) It contains an ink-stone,
water-bottle, and pen-racks. (See No. 92). Old Japanese.
94.
Ink-sTanD. Formed from the section of a very large bamboo,
distorted in shape, and old in growth. It holds a circular ink-
stone, and a crescent-shaped water-holder, probably representing
the sun and moon. (See No. 92.) On the lower part of the
exterior of the lid a pumpkin and foliage are gracefully thrown
in raised gold lacquer; on the upper half an inscription is
written. Old Japanese. 95.
This is an example, very much to the point, of the Japanese taste for
quaint conceits ; they lavish their finest workmanship upon materials
in themselves rude, but singled out on account of their fanciful shape
and then adapted to their requirements with wonderful aptitude.
Such specimens appeal as much to the lover of art as to the curiosity
hunter, for it generally brings out the artistic fancies of the designer
in the highest degree.
Ink-sTAND. Raised gold lacquer on a red ground. It is arranged
for holding papers between the two parts of which it is com-
posed. The water-holder is formed from a shell, and the
wooden cover of the ink-stone represents a junk’s sail in the
midst of waves. Old Japanese. 96.
Smoxine Stranp. Rich black and gold raised lacquer, silver-
mounted. It has three drawers for tobacco, &c., two covered
silver vessels (the larger one for live charcoal with which to
light the pipes, the smaller for tobacco-ashes) on a tray ; the
lower part is.decorated with peonies, and the tray with butter-
flies ; the repoussé work of the silver vessels is of a design of
peonies, and the pipe-rests and handles of the drawers, butter-
flies ; these being the crest of the Prince of Inshiu, its former
owner. The panels of the upper part are of silver, finely
wrought in imitation of blinds with hanging tassels ; the handle.
is a silver rope, knotted at the hinges. Old Japanese. 97.
Smoxine Stanp. With two trays and two metal vessels for live
charcoal and tobacco-ash. Decorated with a floral pattern in
flat black and gold lacquer. Old Japanese. 98.
Pritow and Cusuion. A large drawer fills the pillow and con-
tains a pot (No. 100) for burning incense, and a box (No. 101)
LACQUER WARE, 11
in three tiers, for pastiles and pills; it has a design of bamboos
on raised gold lacquer, with crests in gold and silver of the
owner. Old Japanese. 99 to 101.
The elaborate manner in which the hair, both of men and women, is
dressed, is the reason that a pillow of such unyielding materials, and
apparently uncomfortable shape is used; it supports only the lower
part of the head, thus leaving the hair uncrushed. .
Pittow and Cusnion, containing a drawer. Decorated in raised
gold lacquer with a floral pattern and two crests ; a crest or
charm is incised in the top and one side, which is similar to the
crest of the Prince of Oshiu. Old Japanese. 102.
Pittow and Cusnion. Red lacquer. This shape is the most
common in use. Japanese. 108.
Mirror, circular. Polished metal, in a case of black and gold
lacquer; cast in the metal, on the back of the mirror, is the
erest of the Prince of Owajima, and a mountain-ash tree; on
the case are shown branches and blossoms of the Kiri tree, and
the same crest. Old Japanese. 104.
This is one of the largest dressing mirrors used by ladies, who sit on
the ground before it (the mirror being raised on its stand, see
No. 105), while an attendant standing behind them assists in their
elaborate toilette. Dressing the hair is a long and complicated
affair, and needs to be done only once in every few days.
Foxiprne Sranp for mirror, No. 104. Gold lacquer on varnished
wood. Old Japanese. 105.
Lavy’s Dresstnc Caprnet. Jt contains two drawers, and has a
tray-like top. Belonging to it are a deep oval tray (No. 107)
and a round box (No. 168) which contains a tray, and is in-
tended to hold articles in use for the toilet. These are all
decorated in flat gold lacquer on a black ground, with water-
lilies in a flowing stream, conventionally treated. Old Japanese.
106 to 108.
Dressinec Mrrrors, a pair. Polished metal, in cases of black and
gold lacquer. (To match the cabinet, No. 106.) The backs of
the mirrors show a design of pine trees, bamboos, and cranes ;
the larger is supported on a stand (see No. 111), while the
smaller is for the hand. Old Japanese. 109, 110.
Fotpine Stanp to match No. 109. Old Japanese. L11.
DressinG CaBinet, with three drawers and tray-shaped top, gold
lacquer, with design of a Kiri leaf and peonies ; the edges of
the tray-shaped top are dusted with mother-o’-pearl. Old
Japanese. 112.
Capinet or Tanz. Black and gold lacquer, Arranged irre-
gularly in open shelves, the lower part closing with sliding
doors; the flower and leaf of the Atri are carried in scrolls
over the surface. Old Japanese. 113.
This is one of the largest pieces of Japanese decorative furniture, and
is placed in the Zoko, or recess which is always to be found in the
12 JAPANESE ART.
principal rooms of a house. More than one object of Art or of
interest is rarely placed on each shelf; a vase holding a bouquet (as
described in the introduction to this Catalogue) would stand on the
top.
CABINET, with ten drawers, three of which are covered by a
door; a cupboard with sliding doors is at the top. In raised
gold lacquer on a black ground, an aged Maéts or pine-tree
covers the face of the cabinet, excepting the sliding doors, which
are decorated with flying cranes, painted on gilded silk. Old
Japanese. 114. -
‘CaBiner, flat black and gold lacquer, with metal mountings. It
contains a drawer and tray (No. 116), has folding doors, and is
decorated with a design of Butans (peonies), and the crest of the
Prince of Matsmai, similar to that on Nos. 43 and 44. The
fastener of the door shows artistic thought. Old Japanese.
115, 116.
Armour TRUNKS, a pair, each on six feet. For household use ;
with chased metal mounts. Avanturine lacquer ; round the
outer edge, the Shogun’s crest is four times repeated. Old
Japanese. ‘ 117, 118.
Boxes of this description usually stand in the hall, or outer reception
chamber.
CiLorHEs TruNKs, a pair. With heavy brass mountings. Hach
contains a tray ; they are fitted with handles by which they are
slung on either end of a bar, and carried across the shoulders of
a servant. Shown in flat gold lacquer on a black ground are
eight large examples of the owner’s crest, which is the same as
that on Nos. 43 and 44, and shows that it belonged to the same
family. Old Japanese. 119, 120.
Pairs of these boxes are always carried in wedding processions, and
frequently accompany a ceremonious visit; they are also used for
conveying wearing apparel on a journey.
Boxns, a pair. Flat variegated lacquer on a black ground; oc-
tagonal, fastened by silken cords and tassels on to raised trays.
The design is a stream conventionally treated, Kiku (chrysan-
themum) flowers and leaves. From the frequent repetition of
this flower it may be gathered that the boxes belonged to a
meniber of the Mikado’s family. Each box is nearly filled with
large cockle-shells, the insides of which are gilded and painted
with various devices ; with these are played a game by ladies of
high rank. Old Japanese. 121, 122.
These boxes form an indispensable portion of a Princess’s wedding
trousseau.
Bon-pon Boxes, a pair. Richly gilt and painted, representing
dogs. Japanese. : 123, 124.
These boxes were given to the owner filled with a favourite Japanese
sweetmeat made of white sugar.
Box. Decorated with the Kiri Mon in gold, on a black ground,
and containing two Court fans (Nos. 126, 127), which it may
LACQUER WARE. 13
be observed have the appearance of being opened, though they
are really closed, the reason being that it is contrary to Court
etiquette for the fan to be shut. Old Japanese. 125 to 127.
Brazier or Hisacut. Red lacquer. It holds a metal bowl for
the charcoal ; the addition of the cage-like covering of the same
to protect the clothes or quilts from the fire, converts if into a
bed-warmer. Japanese. 128.
Mirror STAND (miniature). Raised gold and red lacquer, with
. floral scroll-work, and the Kiri-Mon powdered over. Old
Japanese. 129.
This and the following objects to No. 182 are toys, probably for the
use of princely children. ;
Reapine Desk. Raised gold and red lacquer, matching No. 129.
With drawer. Old Japanese. 130.
CABINET, on wheels. Black and gold raised lacquer. It is silver-
mounted, and has shelves, cupboard, and drawers. Old Japa-
nese. 181.
The exquisitely fitting drawers, slides, &c. are another proof of the
Japanese attention to details, even in the smallest article.
SEDAN CHarr or Nori-mon. Black and. gold flat lacquer, with
brass mountings. (See No. 196.) Old Japanese. 182.
Caxinet, or Tanz. Black and gold lacquer, design of peonies ;
with metal mountings. Old Japanese. 1338.
This and the anal fifty objects (to. No. 182) form a set of toys,
which reproduce in miniature boxes and other utensils in use among
the high classes.
Casiner. Similar to No.'133, but differing in shape. Old Japa-
nese. 134.
Capinet. Similar to Nos. 133, 134, but differing in shape. Old
apanese. . 135.
VASE, metal, and. six implements. Old Japanese. 136,
Boxss, nine, containing trays. Of various shapes. Old Japa-
nese. 137 to 145.
Box. In two tiers. Old Japanese. . 146.
Box. In three tiers. Old Japanese. 147.
Box and Tray. Fitted with six small boxes. Old gee
Boxes, twenty-seven. Of various shapes. Old Japanese.
149 to 175.
Kertte. Old Japanese. 176.
Brazier or Hrsacur.. Old Japanese. 177,
Trays, two, Old Japanese. 178, 179.
14 - JAPANESE ART.
Tea Jar. Old Japanese. 180.
Bowts, with handles, two. Old Japanese. 181, 182.
Stanp. Solid hard wood, with gilt edges, and sides panelled in
avanturine lacquer. Old Japanese. 183.
Heap-Dress of a Kugé (member of the Imperial family), or
Daimio, The part for the head is of a finely woven network
of hair over a thin frame of black lacquer ; the white paper
strings are for fastening it on. It is contained in a box of fine
black lacquer, with the Kiku-mon, or Imperial crest, in gold.
The other part of the head-dress (No. 185) is put on so as to
turn downwards at the back of the head, and is also made of
finely woven hair. It is in a lacquered case, with a crest (Owa-
jima). This head-dress was worn when in the presence of the
Mikado. Old Japanese. ‘ 184, 185.
Sworp Rack. For holding three swords. Old raised and flat
variegated lacquer. The ends are perforated to describe leaves
and stalks of water-lilies, and the same design in gold and black
lacquer is on the frame-work; a crest in gold and silver is
powdered over parts of the rack, but in no place is more than
half of it shown; the panels are of rich crimson lacquer. On
one side is depicted in raised lacquer a group of poets anda
poetess, and on the other a number of cranes are seen standing
aiongst young fir-trees, under a cloudy sky. Old Japanese.
186.
This rack would be placed in the Zoho or recess (see No. 112), to
hold the swords of the host and of his honoured guest.
Fan-rack. Gold lacquer ona deep red ground, pierced to describe
pine branches, amidst which are flying cranes. Japanese.
187.
This is hung on one side of the Toko or recess (see No. 112), and is
more for ornament than for use, although a partly opened fan is often
placed on the hooks meant for it.
Har. Black lacquer, imitating metal, and studded with rivets ;
five silyered bands meet in the centre, and a crest of gold is on
the front ; a tassel is on the back. Worn by Samurai (soldiers)
and officials. Japanese. 188.
This and the seven following objects have all metal fastenings in the
centre, and excepting “No. 195 have tassels at the back ; they are
balanced on the head .with silk pads leaving space for the queue,
and are tied under the chin with bands and strings.
Har. Black lacquer, with birds and waves in gold and silver
lacquer. Japanese. 189.
Har. Black lacquer, imitating plates of metal rivetted together ;
three silver bands meet in the middle. Japanese. 190,
Har. Black lacquer, imitating plates of metal rivetted together ;
black lacquer band in front. Japanese. 191.
LACQUER WARE. a
Har. Black lacquer, divided by three triple-striped bands of gold
and coloured lacquer. Japanese. 192.
Har. Black lacquer, decorated with dragons in gilt. Japanese.
193.
Har. Black lacquer, with four triple-bands of silver. Japanese.
194.
Hat, three-cornered. Basket-work ; the outside lacquered black,
with three crests in gold of the Prince of Nambu ; the inside,
which is turned up, of red lacquer. Japanese. 195.
Sepan-Cuair or Nori-mon. Black and gold lacquer, panelled
with black velvet, studded with brass nails, and brass mounted ;
the bosses at each end and on several parts of the metal-work
are ornamented with a combination of the Osokawa and Arima
crests. ‘The barred windows on three sides are filled with fine
green gauze, and fitted on the inside with closing slides; on the
outside are hung jalousies of split bamboo in frames of brocade,
furnished with fastenings of heavy silk cords and tassels. Each
side slides open, and part of the roof lifts up to admit of ingress
and egress. ‘The interior is ornamented with painted panels,
and is fitted with a silk cushion, padded arm-rests, and a rack
for holding the sandals, which are always slipped off the feet
before entering the Nori-mon. It is borne on the shoulders of
four men in livery, by the massive lacquered pole passed through
metal slings on the top; the cover of scarlet cloth, in a black
lacquered framework, is to preserve it from dust while not in
use ; in travelling it would be protected by a waterproof cover-
ing of oiled paper. Old Japanese. 196.
This JVori-mon has been the property of a prince ; one for a lady
would be more elaborate in ornamentation.
Before the advent of foreigners in Japan, and the consequent intro-
duction’ of steamers and railways, the Shogun’s power was so firmly
established that he compelled every Daimio (prince or noble) in
the realm to make periodical visits to his capital, Yedo, to do
homage, and to leave a wife, or other member ‘of his family, as
hostage for his good behaviour whilst in his own province.
The journeys were nearly always made by road, and as some Daimios
from distant parts of the Empire had to pass through the territories
of others who might be more or less hostile, they were compelled to
travel accompanied by a strong body of armed retainers. It was on
such occasions that /Vori-mons similar to the one now described, and
other accessories of rank, were used.
In the procession that was formed, the Daimio himself, the members of
his family, his high officers and their families, all travelled in these
chairs. The halberds and insignia of rank (described in Nos. 639—
656) of the prince, and of his officers, were borne before their re-
spective chairs; the bows and arrows (Nos. 658-660), luggage-
boxes (No. 119, &c.), and other baggage were carried behind them ;
and the horses with trappings (No. 662) were led when not ridden.
A special body-guard marehed on each side of the Nori-mon, two or
more Samurat (soldiers) headed the procession to clear the road, and
the main body of retainers brought up the rear. Woe betide any
luckless dog that got in the way, or travellers who failed to leave the
road and make obeisance as the cortége passed! ‘They were often
ruthlessly cut down. Many'a sanguinary fight took place when two
16 JAPANESE ART.
such parties met, and a question of precedence arose. It was on
meeting Shi Madzu Saburo, the brother of the Prince of Satsuma,
and his retinue, that Mr. Richardson was, in 1863, murdered in the
most cold-blooded manner, whilst riding on the high-road between
Yokohama and Yedo, the others of his party miraculously escaping,
although some were severely wounded.
CaxninET. Very fine piece of old lacquer, in delicate and fanciful
design ; mounted in silver, of which the ornaments are also
made; the centre part revolves in a frame-work; the lower
part of the stand, which contains a single drawer, is lacquered
to represent crested waves conventionally treated ; on the top is
a raised panel with diapered border, showing two well-drawn
cranes in rich gold lacquer, flying amidst clouds. Old Japanese.
197.
The intricate arrangements of each of the four sides should. be observed,
as they imitate in miniature the Toko or recess which is to be found
in the principal rooms of all superior houses (referred to in Nos.
112, 186, and 187), and show the manner in which pictures, vases,
cabinets, and ornaments would be placed therein. The ingenious
way in which the artificer has succeeded in arranging so many
shelves, cupboards, drawers, and recesses on each side of so small
a square, without spoiling the correct appearance of either, is re«
markable.
This cabinet has been the property of a lady of high rank, and its use
has been to amuse the occupants of such a Nori-mon as described
above (No. 196), when on a long and tedious journey.
RED CorRAL LACQUER.
The following pieces, eight in number, are a collection of
the red coral lacquer about which there are so many diffe-
rent opinions. It is either a Japanese imitation of the well-
known Chinese red or Soochow lacquer, or else it is the
original Chinese manufacture, imported into Japan at an
early date. The fact that on nearly every piece is to be
found the continuous fret, so uncommon in Japanese
designs, points to its being Chinese.
SraNnD, square-topped, on four gracefully curved legs. On the
top are ho-hos and peonies, deeply cut on a diapered ground-
work, and ho-hos are on the four sunk panels round the sides,
the corners of which have a diapering differing from the rest ;
on the edges of the top and ledge are two different forms of
fret resembling the usual Greek fret. One of these is continuous.
Old Japanese. 198.
Sranp, tripod, with shield-shaped top, Chinese landscape, and
figures on a diapered ground representing water ; the panels of
deeply cut foliage, having in the centre raised medallions of
fabulous animals resembling dogs; the legs are covered with a
pattern of foliage; on the base are chrysanthemums and a
butterfly on a lozenge-pattern diaper, and on the edges are
continuous frets, resembling the Greek fret. Old Japanese.
199:
RED CORAL LACQUER. 17
Sranp, oblong, on four legs. On the top is a Chinese landscape
on diapering to represent sea and sky ; the panels are of deeply
cut foliage with raised medallions in the centre, and the legs
are covered with a pattern of foliage. The base has peonies on
a lozenge-pattern diaper, and on the ledge is a continuous fret
resembling the Greek fret. Old Japanese. 200.
Vase, hexagonal. Ho-hos and peonies are in high relief on a
lozenge-pattern diaper; a continuous fret is on the bordering of
the base. Old Japanese. 201.
STAND, oval, on three legs. It has a bold design of scroll-work,
deeply cut. Old Japanese. 202.
Sweetmeat Box, in four tiers, on a tray. On the top of the box
is shown under a tree a Chinese figure riding on a mule, and
another carrying a burden ; these are in high relief on a fish
scale diaper ; the sides are decorated with foliage. The tray
also has a Chinese scene in the centre, surrounded by a border-
ing of foliage, and edged with a non-continuous fret. This is a
beautiful specimen of this work, and has a rich brocade covering
for the box and tray separately. Old Japanese. 208.
Fan Case. Deeply under-cut with flowers and leaves, and
having a geometrical design on the middle of the lid. Old
Japanese. 204.
Box. Black carved lacquer, resembling Nos. 198 to 204 in all
but colour. A Chinese landscape with figures is on the top,
and the sides are diapered with a design derived from a fret.
Old Japanese. . 205.
SraNnpING Lamps, a pair. Black and red carved lacquer, with
gilt metal mounts, &c. ; hexagonal shades with panels of gauze,
painted with figures, flowers, and birds. Japanese. 205a.
Woop and Ivory CARVINGS, including “ N&rsuKks.”
Much of the taste and ingenuity of Japanese Art has
been exercised on these carvings, the smaller of which
(“ Nétsukés ”) are toggles for securing the pipe or medicine
case to the belt. When finely carved, the wooden ones are
considered the most valuable, although many of the ivory
ones are equally esteemed. Many of them are the work of
men celebrated in this line of art ; some are marked with the
name of their maker, whereas others are to be easily recog-
nised by connoisseurs without any such distinction, the
style of workmanship being so well known, ‘There is
scarcely one of these Nétsukés that is not an illustration of
some legend or tale; some of these will be roughly sketched
in the following list.
18 JAPANESE ART.
Ivory Nirsuxts.
Nétsuxé or 'Toaere. Ivory, carved. A “Takara fune,” or
ship of Good Fortune, a type of the prosperity of Japan.
Japanese. 206.
This is filled with bags of rice, boxes of money, a bag of specie, a
piece of coral, a warehouse key, and the five principal “ Kami” or
gods; accompanying the ship are always depicted a tailed tortoise
and a crane.
Nérsuxé or Toaere. Ivory, carved. A vendor of sweetmeats
striking a rattle to call attention to his wares. Japanese. 207.
Nirsuké or Toaerx. Ivory, carved. A woman catching” fire-
flies with a fan, and a boy holding a cage into which the
captured fire-flies will be put. Japanese. 208.
Natsuxsé or Toeere. Ivory, carved with a group of masks, such
as are used in the 6 dances. Old Japanese. 209.
These are pantomimic dances, the favourite themes for which are the tra-
vels and adventures of different heroes of the Hégen and Hégo period
(A.D. 1156-1159), and the costumes used are of that date. Besides
the dancers, there are musicians with flutes and drums who play the
accompaniments to the dances, and a chorus, which, as in the old
Greek tragedy, explains by songs the feelings of the hero. ‘These
NO are practised as charades and drawing-room theatricals are by
us. They are a favourite subject for illustration.
Nétsuxé or Toaerx. Ivory, carved in form of a dust-basket
containing ferns, rope, &c. ; remnants of New Year decorations,
and thus typical of the New Year. The mouse sitting on the
edge is an emblem of prosperity, most probably in allusion to a
full garner. Old Japanese. 210.
Nérsuxé or Togerr. Ivory, inlaid with representations of all
that is most valuable in Japan, viz., bag of rice, bag of money,
warehouse key, rain coat, &c. Old Japanese. 211.
Nérsuksé or Togeix. Ivory, carved in form of a mouse nibbling
acandle. Old Japanese. 212.
This was given to the owner from off his own girdle by the present
Prince of Satsuma.
Nétsuké or Toeerx. Ivory, carved. A group of two actors,
whom a woman and children are watching. Japanese. 2138.
During the New Year season actors and such people go about in some-
what the same manner as our “ Waits” at Christmas time.
Nitsukh or Tocere. Ivory, carved in form of an elephant.
Old Japanese. , 214,
This is curious as being carved by the native of a country where such
an animal had never been seen, except in drawings.
Neérsuxé or Toaere. Ivory, carved in form of an elephant.
Old Japanese. 215.
Nirsuxé or Toaerx. Ivory, carved in form of a cluster of
rats. Old Japanese. 216.
WOOD AND IVORY CARVINGS. 19
Neérsuxé or Tocern. Ivory, carved. A woman tying up
a large bag or sack ; typical of the control we should keep over
our passions. Old Japanese. 217,
Netsuxé or Toaerr. Ivory, carved with figure of Kintoku,
who at three years of age was of such great strength, that he
was able to hold a powerful bull by the horns. Old Japanese.
218.
Nétsuxté or Toeare. Ivory, carved with a group of actors, one
of whom is disguised as a dragon. (See No. 213.) Old
Japanese. 219.
Nérsuxs or Toaeie. Ivory, carved with a lotus-leaf and frogs.
Old Japanese. 220,
Nitsuxé or Toaerr. Ivory, carved with a pumpkin and frog.
Old Japanese. 221.
Niétsuxé or Toaerr. Ivory, carved with various wares. |
Japanese. 222,
This is nothing more than an advertisement of some vendor of such
wares as are here depicted.
Nitsuxé or Toaeir. Ivory, carved. A fruit, which has been
eaten hollow by rabbits, which are still inside. Old Japanese.
223.
Nitsuxé or Tocere. Ivory, carved. A blind beggar, from
whom a woman turns away amused. Japanese. 224,
Nirsux& or TogeLe. Ivory, carved with two Chinese generals,
named Kwangu and Chohi. Old Japanese. 225.
Nirsuxé or Toaerx. Ivory, carved with figure of Dai-Koku
(the God of Plenty), and emblems of prosperity. Old Japanese.
226.
Nirsuxéi or Tocerx. Ivory, carved with a monkey carrying
a skull. Japanese. 227.
Nétsuxé or Toaere. Ivory, carved with figure of Kami-nari
(the Thunder Demon) sitting on a cloud; on his back is the
~ drum on which he sounds the thunder. Old Japanese. 228.
Nétsuxs& or Tocerr. Ivory, carved. A frog with an umbrella
under a willow-tree. Old Japanese. 229.
This is a subject often seen. It relates to the story of a boy who
observed a frog endeavouring to leap on to the branches of a willow
tree ; after repeated failures he succeeded, and so impressed the boy
with the belief that perseverance leads to success, that he ever after
practised this quality, and eventually became one of the most
learned men in Japan.
Nérsuké or Toaetz. Ivory, carved with the story of Ourashima-
taro. Old Japanese. 230
Ourdshima-taro, who lived about A.D. 478, spent his time in catching
tortoises. “One day, after catching one, he took it home with him,
WE
20 JAPANESE ART.
and it assumed the shape of a beautiful woman, who induced him to
fly with her to her own country, After remaining some time with
her, he became home-sick, and wished to return. As a parting gift
he received a box, which secured him the possession of immortal
youth and vigour, so long as he abstained from opening it. On
reaching his former home, he found that many years had passed
while he had been away, and that none were left of his family and
friends. His disappointment was great, and one day, either that or
his curiosity overeame his prudence, and removing the cover of his
precious casket, he at once became old and feeble, and shortly after-
wards died.”
Nérsux& or Toaere. Ivory, carved with a wild goose and reeds
against a full moon; a subject frequently repeated. Old
Japanese. 23).
Nitsuxé or Tocere. Ivory, carved with a country scene; a
man leading his horse, on which are seated his wife and children,
Japanese. 232.
Nitsuxé or Toaerz. Ivory, carved. A tipsy man. Japanese.
233.
Nétsuxs or Toaerx. Ivory, carved. Two carpenters making
a gigantic Né mask. (See No. 209.) Japanese. 234,
Nérsuxé or Toaere. Ivory, carved with a representation of
Daruma, Old Japanese. 235.
Daruma was one of the followers of Buddha, who, by long meditation
in a squatting position, lost his legs from paralysis and sheer decay.
Images of Daruma are frequent in toy-shops, and as tobacconists’
signs, also as the “ showman” of the boys.
Nérsuxé or Tocgeir. Ivory, carved with hiwa (a fruit), Old
Japanese. 236.
Nirsuké or Togerx. Ivory, carved. A faithfully copied
bamboo-shoot. Old Japanese. 237.
These shoots are eaten by the Japanese as vegetables, and are very
delicate in flavour.
Nétsvuxt or Toaerz. Ivory, carved with a snake, which repre-
sents a Japanese hour (10 a.m.). Old Japanese. 238.
Nétsvux& or Tocere. Ivory, carved with a tiger, which repre-
sents the Japanese hour of 4 A.M. Old Japanese. 239,
Nérsuxé or Toaerx. Ivory, carved with a man scrubbing a
floor. Japanese. 240.
Nétsuxé or, Togeie, Ivory, carved with a rat gnawing at
adried salmon. Old Japanese. 241,
Né&tsuk& or Toaeie. Ivory, carved. A tea-pot cover, into
which a fly has crawled. Japanese. 242.
NérsuK& or Tocete. Ivory, carved with an aged woman washing
a baby. A contrast. Old Japanese. 248.
Nétsuk& or ToeeLe. Ivory, carved with a boy feeding a dog.
Old Japanese. 244,
WOOD AND IVORY CARVINGS. 21
Nirsuxi or Toaetn. Ivory, carved. A lame old man carry-
ing a lobster. Old Japanese. 245.
Nirsvuxt or Toaerr. Ivory, carved with a Chinese general, who,
tradition says, rode across the sea. Old Japanese. 246.
The artistic quality of this carving makes it one of the best in the
collection.
Nirsuxi or Toaere. Ivory, carved with a lotus-leaf and tor-
toise. Japanese. 247.
Nirsuxé or Toate, Ivory, carved. Boys playing with a No
mask, Japanese. 248.
Nétsuxéi or Toaeie. Ivory, carved. A woman frightening a
child with a mask. Old Japanese. 249,
NétsvK& or Toceie. Ivory, carved with a skeleton and a skull.
Old Japanese. 250.
Nirsuxs or Toaerx. Ivory, carved with a skeleton dancing to
the accompaniment or a samisen or guitar, played by a woman.
Old Japanese. 251.
Nitsuxié or Toaern. Ivory, carved. A woman importuning
a man for money which he is taking from his purse. The
rendering of the expression of the faces is very good. Old
Japanese. 252.
Nétsvxé or Toeere. Ivory, carved with an illustration of the
story of the five blind travellers. Old Japanese. 253.
“ Five blind travellers find themselves at the ford of a stream; to
avoid all getting wet in the crossing, they arrange that two shall
wade across with the others on their backs. Two wags overhearing
the discussion take the place of those to be carried over; the latter,
after hailing and waiting for their companions in vain, cross over,
and as they are further exasperated by being told that they have
been carried across, a general altercation takes place, which ends in
confusion and blows.”
Nitsvxs& or Toceie. Ivory, carved with two blind men fighting ;
most likely an illustration of some story similar to No. 253.
Old Japanese. 254,
Nérsuxs or Toaeix. Ivory, carved with a figure of Jizo-sama,
a priest of Buddha, who is here shown cutting off.the horn of a
demon who sues for mercy. Old Japanese. 255,
Nzétsvxsé or Tocere. Ivory, carved with a group of four persons ;
probably an illustration of the four social grades of the Japanese
people, viz., a Samurai or official, an agriculturist, an artizan,
and a tradesman, Japanese. 256.
Nirsvuxs or ToGeie. rial carved with a lotus and frog. Old
Japanese. 257.
Nirsuxt or Toaetx. Ivory, carved with figures of boys climb-
ing over a conch-shell similar to those used as war-horns in the
temple services. Old Japanese. 258,
22 JAPANESE ART,
Nirsuxsé or Toactr. Ivory, carved with a plate containing five
seeds or beans. Japanese. 259.
N&rsuk# or Togere. Ivory, carved with a large figure of a
demigod. Japanese. 260.
Nérsuké or Tocerx. Ivory, carved with a group of a male and
female figure and a fox. Old Japanese. 261.
This is evidently an illustration of one of the many stories in which
the fox plays an important part as bewitcher or beguiler, by appear-
ing to men in the form of a beautiful woman ; the fox is here shown
abstracting the man’s purse.
Foxes are supposed to steal away the senses and to play practical
jokes on people, by no means amusing to the latter : for instance, a
fox in disguise will make the victim believe that a field of buck-
wheat in flower is a river, and will induce him to strip and wade
through it under that impression.
Nirsuké or Toatrx. Ivory, carved. The capture of Soga-no-
Goro. Old Japanese. 262.
Soga-no-Goro’s father having been murdered at the instigation of the
Shogun Yoritomo, the former repeatedly attempted the life of the
Shogun, who found it impossible to catch him; until one day
he was surprised by Gosho-no-Gorumaru, who, dressed as a woman,
was passed by Soga-no-Goro unobserved ; when the former sprang
upon him, at the same time entangling his feet with the garment he
cast off him. Thus was this noted warrior captured.
Niérsuxé or Tocere. Ivory, carved with two court musicians
playing flutes. Old Japanese. 263.
Nursvxs or Tocerx. Ivory, carved with a group of three demi-
gods riding on a tailed tortoise. Old Japanese. 264.
Nérsuxt or Toeere. Ivory, on which is shown in bronze,
Kap-pa (a sea-demon), under a broken umbrella, carrying a
saki bottle. Japanese. 265.
- Nirsuxt or Toaars. Ivory, carved with a serpent stinging an
eagle which has seized a fox. Old Japanese. 266,
Nirsuxé or Tocerz. Ivory, carved with a grotesque subject.
Old Japanese. 267.
This illustrates the story of a man with arms of exaggerated length,
who has been carried across a river by another whose equally dis-
torted legs have enabled him to wade across; the former is freeing
the latter from an octopus which has entwined itself round his feet,
thus pointing the moral, that “one good turn deserves another.”
Niitsuxeé or’ Toeerr. Clay model of a skull, from which to
carve in ivory or wood. Japanese. 268.
Woopren Nétsuxkis or Toaarrs.
Nérsuk# or Toeeix. Wood, carved with group of Masks used in
the No dances (See No. 209). Old Japanese. 269.
Nirsuxs or Toeerx. Wood, carved with legend of Ni-jiu-sh’ko.
Old Japanese. 270.
The mother of Ni-jiu-sh’ko, during an illness, desired to eat some
young bamboo shoots, and he endeavoured to find some, although it
was the winter season ; while digging for them he found a golden
kettle and was so rewarded for his filial piety.
WOOD AND IVORY CARVINGS. 238
Nérsuxié or Togere. Wood, carved with a man falling under
the weight of an image of Daruma, which he is carrying. (See
“No, 225.) Old Japanese. 271.
Nérsuxé or Tocerr. Wood, carved with hiwa fruit. Old
Japanese. 272.
Nirsvuxt or Toaerx. Wood carving in form of a piece of tree-
fungus. Old Japanese. 273.
This and No. 274 are examples of the realistic work which is found
. among the Japanese. ;
Nursuxé or Tocerr. Wood carving in form of a bundle of
charcoal. Old Japanese. 274.
Nitsuxié or Toaere. Wood, carved with dust-basket and spider.
Old Japanese. 275.
Nétsuxé or Togeire. Wood, carved with monkey and peach.
Old Japanese. 276.
Niirsuké or Toaeie. Wood, carved with a Nd mask. (See
No. 209.) Old Japanese. 277.
Nérsukh or Toei. Wood, carved with dragon mask used by
New Year actors; the laughing face of a boy is seen inside it.
Old Japanese. 278.
Nirsuxksé or Toaerr. Wood, carved. A man throwing beans,
and the devil hiding behind him. . Old Japanese. 279.
It is a custom to throw beans from the house-door at New Year’s time,
to keep the devil from the house during the ensuing year. This
shows the devil getting the better of the man by hiding behind
him, and so avoiding the beans.
N&tsuki or Toaeite. Wood, carved in form of an orange, which
opens and shows two men playing at Gé or checquers. Old
Japanese. 280.
This game has been lately introduced into England, and mis-named
“ Gobang.”
Nétsuké or Tocerx. Wood, carved with lotus-fiower. Old
Japanese. 281.
Nétsukk or Togern. Small figure of a woman, carved out of
the stem of a tea-plant. Modern Japanese, made at Nara, the
ancient capital of Japan. 282.
Nitsuxt or Tocere. Wood, carved with water-lily leaf and
tortoise. Old Japanese. 283.
Nérsvuxé or Toeetr. Wood, carved with figure of Jiu-ro-Jin
(“oldest of men”), the God of Good Luck and Happiness.
Modern Japanese. 284,
Nérsuké or Tocerr. Wood, carved with dolphin and gourd.
Old Japanese. 285.
Nérsuxé or Toeatx. Wood, in form of a purse or bag, the
surface of which is beautifully carved in various diaper patterns ;
39016. CG
i
Wit}
24 i JAPANESE ART.
on opening it two exquisitely carved figures are seen of a priest
or sage paying his addresses to a coy damsel. The expression
of both figures is wonderfully rendered, and the minute carving
of the whole remarkable. © Old Japanese. 286.
Works in Ivory and Woop.
Vases, a pair. Ivory tusks on stands, ornamented with gold
lacquer. Modern Japanese. 287, 288.
VASES, a pair, ivory, on stands, ornamented with gold lacquer.
Modern Japanese. 289, 290.
Casiner. Ivory, lacquered with gold. Modern Japanese. 291.
STANDS, a pair. Ivory, carved and lacquered, supporting crystal
balls. Modern Japanese. 292, 293.
Box. Ivory, bamboo-shaped, inlaid and lacquered. Modern
Japanese. 294.
Box. Ivory, inlaid and lacquered. Modern Japanese. 295.
Box, with drawer. Ivory, inlaid and lacquered. Modern
Japanese. 296.
‘Scent Borrxe, in form of a gourd. Ivory and lacquer. Modern
Japanese. 297.
TrErtTotum in case, and Box of Counters, Ivory. Modern
Japanese. 298, 299.
Box. Ivory, in form of a water-lily leaf. Modern Japanese.
300.
Box. Ivory, in form of a fan. Modern Japanese. 301.
Mepicine Case, in four tiers. Ivory, lacquered and encrusted.
Very fine. Old Japanese. 302.
Mepicine Case in three tiers, oval. Ivory, lacquered and finely
encrusted. Old Japanese. 308.
Mepicine Box, in form of a Kotok or harp, containing three small
boxes. Ivory, lacquered and encrusted. Old Japanese. 304.
Box. Ivory, lacquered with gold, and encrusted with gold,
silver, coral, mother-o’-pearl, and mosaic. Very old Japanese.
305.
' Boxus for coins or medicine, seven, small. Ivory. Old Japanese.
306 to.312.
Burrows, six. Ivory. Modern Japanese. 313.
Merpicine Box, containing three small boxes. Ivory, finely
lacquered, and encrusted with gold, silver, and coral. Old
Japanese. 314.
WOOD AND IVORY CARVINGS, _ 25
Grovrs, five. Children playing with toys. Carved boxwood,
with ivory faces. Japanese. 315 to 319.
Cuarms, 18. Ivory. Japanese. e 320 to 337.
Mepicine Cass, in three tiers. Box-wood, carved and encrusted,
to represent & pine-tree and rock. Old Japanese. 338,
MepicinE Cass, in four tiers, Boxwood, carved with the Ho-ho
(phoenix), dragon, and flowering ivy, all of which are Imperial
emblems. Old Japanese. 339,
Poucn, Cuain, and Togete. Carved wood, ingeniously put to-
gether, Old Japanese. 340,
Cup. Carved froma nut. Old Japanese. 341.
Vasn, tusk-shaped. Made froim a kind of hard-graitied ebony, and
carved with a landscape. Old Japanese. 342,
Capinet. Hard grained wood, carved all over with birds and
foliage in low relief. Japanese. 343.
Screen for Inxstanp. Hard wood: On otie side is showii Jiu-
ro-Jin (see No. 284), and on the other are flying storks. Old
Japanese. vs 344,
Sranp. Wood, carved on the sides. Old Japanese. 345.
Box, round. Wood, the lid carved with hihku (chrysanthemum)
flowers, and a fret; on the lower part is a pendent fringe
pattern of carved work. Old Japanese. 346.
Group. A tortoise and young. Wood; carved. Japanese.
347.
This is a very beautifully and faithfully executed piece of work, and is
a striking example of the accuracy with which the J. apanese master
every detail of a natural object. '
MepicInE Cass, with five drawers. Dark and light woods inlaid
in cheequers. Modern Japanese. 348,
Box. Inlaid wood ; ingeniously divided into three compartments.
Modern Japanese. 349,
VASE, small. Wood, with perforated sides. Old Japanese.
350.
Box. Double-square in shape. Inlaid woods. Modern Japanese.
351.
Tray. Inlaid wood. Old Japanese. 352.
Prate. Formed from the section of a tree, with the bark left on
the edge. Modern Japanese. 353.
This and the following objects to No. 370 aré specimens of moderi
work done at Mia-no-sh’ta, a mountain village not far from Yedo.
SweEtTmxatT Box, in three tiers. Turned wood. Modern Japa-
NESE. 354,
G 2
26 JAPANESE ART,
*
SwEETMEAT Box, in two tiers. Turned wood. Modern Japanese,
355,
FLower VAsr. Wood, the bark left on. Modern Japanese.
‘ 356,
Cup. Wood, the bark left on, and lacquered. Modern Japanese.
357.
Box, round, ‘Turned bamboo. Modern Japanese. 358.
Box, with drawers, &e. Camphor-wood, inlaid. Modern Japa-
nese, 359,
Box, for paper. Wood, covered with bark. Modern Japanese.
360.
Luncuron Box, in three compartments. Formed of a mother-o’-
pearl shell enclosed in wood-covered with bark; three small
lacquered plates fit in at the side. Modern Japanese. 3861.
Lerter Box. Inlaid wood. Modern Japanese. 362.
Forpine Prttow. Wood. Modern Japanese. 363.
Prttow. Camphor wood. Modern Japanese. 364.
This pillow contains a “ soroban,’”’ or abacus, a lantern, a box of tooth-
picks, a mirror, and several secret drawers for concealing paper money
or coin.
Box. Unvarnished wood, painted with flowers; a crescent
moon is on the top. Modern Japanese, 365.
Vase. Wood, in imitation of bamboo. Modern Japanese. 366.
Tra Jar. Turned wood, the bark partly left on. Modern
Japanese. 367.
Tra Jar. Bamboo. Modern Japanese. 368.
SAucERS, a pair, Curiously ingrained wood. Modern Japanese.
369, 370,
Ser of Cnopsticxs and Tooruricks. From Mia-Sima, an island
in the Inland Sea held sacred to Buddha... Modern Japanese.
371.
Sprcimen of Woop-ruRNING. Curiously arranged article in hard
wood. A good example of wood-turning. Modern Japanese.
372.
Sranp. Formed from a section of old gnarled wood. Modern
Japanese. ) P 373.
Stanp. Varnished wood. Modern Japanese. 374,
HOUSEHOLD GODS. : 27
HovsEHoLp Gops (“ Kami” or “ Horoxt”),
Every house, be it poor or rich, possesses a “ Kami-
dana,” or “Shelf for the Gods,” on which are placed
small shrines like the following. In their kitchens also
there is a shelf for the “God of the Kitchen,” in honour of
whom offerings are made at the end of each month, These -
shelves are lighted up during the period of family devotions,
morning and evening.
The “Kami” (“Shinto-Gods”), with one exception, are
historical personages who have been deified; they have
each an annual festival, and the ceremonies and observances
of their worship are most minute. The Hotoké are the
Buddhist deities,
Fieure in shrine. “ Mari-shi-ten,” the patron of all persons,
young and old. Japanese. 375.
Figure in shrine. “ Bisha-mon-ten,” patron of cavaliers and
priests. Japanese. 376.
Ficures in shrine. “ Bisha-mon-ten,” with two other Kami.
Japanese. 377.
Ficure in shrine, “ Fudo-son,” God of punishment and revenge ;
this is believed to be a purely Indian deity. Japanese. 378.
Figure in shrine. “ Fudo-son,” much smaller than No. 378.
Japanese. 379.
Figures in shrine. ‘ Amida Niorai,” better known to us as
* Buddha.” Japanese. 380.
Figures in shrine, two. ‘ Amida Niorai,” much smaller than
No. 880. Japanese. 881, 382.
Figures in shrine of ‘ Dai-koku” (“ God of Plenty”), and Yebisu
(Patron of fishermen and traders). ‘The two most popular of
the Kami. Japanese. 383.
Ficures in shrine of Buddha and other Gods, seven in. all.
Japanese. 384,
Fiaures in shrines of Kami. Two. Japanese. 385, 586.
Figures in shrine of three Kami. Japanese. 387.
f1GuReE in shrine of a Kami. Japanese. 388.
F'reuRss in shrine of a Kami and two priests. Japanese. 389.
Figure in shrine of a Kami. Japanese. 390.
FIGURES, a pair. Representing the former body-guard of the
Mikado. Japanese. 391, 392,
28 JAPANESE ART,
DouBLe Sranps for the above cases of Kamit. Six. Japanese.
393 to 398.
STanbs, six, round, gilt. Japanese, 399 to 404.
CLOISONNE ENAMELS.
Sranp, oblong, on four curved feet. On the top are represented
two dragons in many coloured enamels on a dark blue ground ;
the base and feet are decorated with floral scroll-work.
Japanese. 405,
Box. In the shape of Fuzi-yama, the sacred mountain. ‘The
snow that is generally to be seen on the original is here repro-
duced in white enamel ; the rest of the sides and the base are
covered with irregular patches of pine-branches on a blue
ground, and other designs. Japanese, "406.
Vase, cylindrical. Flowers and leaves in beautiful enamelled
colours almost. entirely cover the surface ; the ground is dark
green. Old Japanese. 407.
‘Vases, a pair. Square-bodied, long-necked, with flat square rims
and ring-handles ; on pedestals raised on four feet. ‘The pre-
vailing colour is an olive green, and on the four sides of each
are medallions of flowers enamelled in natural colours on a
ground of grey of a beautiful shade, surrounded alternately by
broken diapers and floral scroll-work. The remaining surfaces
are covered, with apparent. carelessness, by differently shaped
medallions of various diapered patterns, and sprays of foliage
in a variety of colours. Japanese. 408, 409.
Vases, trumpet-mouthed, a pair, on round raised pedestals.
Cloisonné enamel. On the under part of the lips are two fan-
shaped medallions ; one grounded in grey has the design of a
branch and bird; the other, grounded in red, shows the new
moon appearing through clouds on a dark blue sky, and a hare
in full flight ; on the sides are two large medallions, in one of
which is depicted the ho-ho (phoenix) and the Kiri flower on
a grey ground, and in the other an eagle or dragon on a tur-
quoise ground; a garland of dutans (peonies) surrounds each
medallion, and between them are other irregular medallions of
flowers and diapers. On the bulb of the pedestal are peonies
on a floral scroli ground; the legs also show the same design.
Japanese. 410, 411.
Kerrie. Enamelled in medallions, one of which has, on a grey
ground, the phcenix car of the Mikado, accompanied by figures,
mounted and on foot; another has, on a ground partly rich red and
partly turquoise, to represent the sky, an eagle flying over the
sea; the rest of the surface is covered by two medallions, broken
~ CLOISONNE ENAMELS. 29
by bands of curious and vivid diapering, and. by several leafy
designs and flowers in their natural colours. Old Japanese.
412.
It is difficnlt to describe this beautiful example, as the surface is broken up
with so many designs of various shapes, thrown on with such apparent
irregularity, that it defies an accurate and comprehensive explanation. It
is the most perfect specimen in design, colour, and execution, of many
articles of cloisonné work seen by the collector, during a long residence in
Japan.
Disu, round. Cloisonné enamel. In the centre is depicted a
carp leaping a waterfall; this act of the carp is a favourite
subject with native artists, and is typical of the young man
{especially the young samurai) mounting over all difficulties
to success and quiet prosperity. Around the centre-piece are
two rings of a powdered pattern, one having a pink ground, and
one a turquoise. The border is illuminated with three fan-
shaped medallions, showing dahlias, a bee, and a variety of
designs in diaper of fine colouring. The under edge is similarly
adorned. Old Japanese. 413.
Disu, round. Cloisonné enamel. In the centre is a Ho-ho
(phoenix) brightly depicted on a grey ground; the border is
divided into six sections, three of which contain hexagonal
figures on a powered ground, and the other three are cut up
with a variety of diapered and powdered patterns. Japanese.
: 414,
Disu, round, with foliated edges, Cloisonné enamel. In the
centre, on a dark blue ground, are iris flowers and leaves,
springing out of water ; around it are placed, in many colours,
four medallions of different shapes, one being that of a fan, and
another in the form of a “purse of plenty.” The ground is a
floral scroll-work, the prevailing tint being dark green. Japa-
NSE. Ald.
CovERED JAR. Cloisonné enamel. From the neck droops a
pendent pattern of foliage, each leaf being of a differently
coloured and designed diaper-work. The ground of the body
is of a floral scroll-work, on which are placed two medallions of
peonies, and two of cocks and bamboo leaves ; a bordering like
the fringe is round the neck. The cover is to match, and the
bottom of the jar is also cloisonné. Japanese, 416.
Vases, with curved handles, a pair. Cloisonné enamel. Floral
seroll-work on a green ground, with medallions of diapered and
powdered pattern ; round the bases and rims are continuous
fret patterns. Japanese. 417, 418.
CovEerRED JAR. Cloisonné enamel. The pattern somewhat-re-
sembles Nos. 417, 418. One of the medallions contains a
beautiful example of the Kiri-mon. Japanese. 419.
Coverep JAr. Cloisonné enamel. Floral scroll-work is mingled
with geometrical patterns. Japanese. 420,
30 ' JAPANESE ART. —
CoverEeD Bow. Cloisonné enamel. In the centre of the lid is
Ho-ho (phoenix); the border and sides of the bowl have a
‘mixed design. Japanese. 421.
CoverEeD Bown. Cloisonné enamel. Geometrical and floral
mixed design. . Japanese. 422.
Bow. Cloisonné enamel. In a circle at the bottom is a butter-
fly ; the rest of the surface, both inside and out, is of mixed
floral scroll and diaper-work. Japanese. 423.
PLATE. Cloisonné enamel. In the centre is a square medallion
showing mandarin ducks on a turquoise ground; the rest of
the surface is entirely covered. by geometrical and. floral scroll-
work. Japanese. 424,
PLAQUE, fan-shaped. Old Japanese. 424a.
Beans, a string of nine. Old Japanese. 425.
BRONZES,
The Japanese name for bronze, “ Kara-kané,” meaning
“Chinese metal,” would show that the art of smelting this
alloy was originally taken from the Chinese, but if this was
the ease, the imitators have certainly far surpassed their
masters, not only in perfecting the art of working this
valuable alloy, but in greatly extending the use of it.
Whether we gaze with wonder and reverence at the gigantic
Daibutz or Buddhas that have been erected in Japan, or
examine with a magnifying glass the wonderful artistic
studies that ornament their swords and other articles, we.
are alike impressed with the belief that neither the Chinese
nor any European nation ever approached the Japanese in
the manipulation of bronze, and other alloys of metals.
Vass, round, a pair. Bronze, damascened with silver in diapered
pattern. They have large tazza-shaped mouths, on the upper
parts of which are represented waves and fish ; the handles are
dragons, another dragon is curled round the base, and below it
is a damascened pattern of waves. Modern Japanese.
426, 427.
Vase, with long neck. One of apair. Bronze; the handles are of
finely wrought sprays of the sunflower; on one side, in very high
relief, are two cranes, amidst rocks and young fir-trees, and on
the other is Ourashima-taro (see 230) standing on a rock, and
holding a flaming torch over the water, both subjects being
very gracefully rendered ; on the base are waves, convention-
ally treated. Old Japanese. 428.
“BRONZES. 31
VAsr, with long neck, matching No. 428, Bronze; the handles
are of finely wrought sprays of the sunflower ; on one side are
represented high-crested waves with the mountain of Fusiyama
in the distance, and on the other isa dragon. Old Japanese.
; 429.
LANTERNS, or “ Doro,” with pagoda-shaped tops. A pair. Bronze.
Modeis of the votive lanterns which are seen in the court-yards
of the principal temples, and are frequently seven or eight feet
in height ; these now described are used at the Butzw danas or
household shrine. Japanese. 430, 431.
CANDLESTICKS, a pair. Bronze. They represent fishing-nets
drawn up in the centre; the leaden weights form the bottom
edge, and baskets the saucers; on one of them a fish-basket is
attached to the side of the net. Old Japanese. 432, 433.
Figure. Bronze. A monkey. with distorted arms. Old.
Japanase. , 434,
Brazier or Hisacut. Bronze. The sides are ornamented with
a dragon in relief, and the openwork of the cover represents two
more dragons. Old Japanese. 435.
Vase, cylindrical. Bronze. Ornamented with turtle-backed
dragons and clouds in relief. Old Japanese. 436.
Bow... Bronze. Plain, excepting a band of diapered ornamen-
tation. Old Japanese. 437.
Vase. Bronze. Ornamented with band of. fret-work design.
Old Japanese. 438.
INcENSE Burner (hanging), in form of a junk. Bronze. With
pattern of scroll-like foliage in openwork. Old Japanese.
439,
Incense Burner (hanging.) Antique work, in different alloys of
bronze. The boat-like body is of shtakudo (an alloy of gold
and copper), and its bottom part is covered with shibuichi (silver
and copper), to represent waves. At either end is a wild figure,
having a silver cup in the left-hand; one of them holds a
dipper inthe right hand. The dresses are beautifully damascened
in gold. Old Japanese. 440,
Taste Lake, oval. Bronze. Dragons and waves conventionally
treated, beautifully wrought in high relief, decorate the outside,
and at the four corners the feet arc formed from the pattern.
In one of the dragon’s claws is a crystal ball; the rim is of a
fret-work pattern. Old Japanese. - . 441,
FLower Vase. Bronze. _Formed by a toad holding a water-lily
leaf in its mouth; beautifully modelled in fine old bronze, and
forming a most graceful, though quaint shape. Old Japanese.
442.
32 . JAPANESE ART.
Disu, Bronze. In the form of the green ear-shell of Japan
(from which mother-o’-pearl is cut), perfectly modelled, with
barnacles and small shells atiached to the outside. Old Japanese.
443.
Fish Tray. Bronze. Made to represent a lotus-leaf, the stem
_ being turned over for the handle. Japanese. 444,
Incense Burner. Bronze. The handles at each side are con-
ventionalised lions’ heads; on the panels at the sides are
fabulous animals in very high relief, and on the cover is a
fabulous horse, through whose mouth smoke issues when
incense is lighted in the burner. Finely wrought and chased
modern work. Japanese. 445,
Incense-burning is .a pastime of a very aristocratic kind; the game
depends chiefly upon the power of recollecting scents, the players
having to guess what perfume is being burnt.
Incense Burner. Bronze. A mule with saddle and trappings.
Probably Old Chinese. 446.
Vasr. Bronze. Bell-mouthed and high-necked, decorated with
figures, trees, and a stork in relief on a fret-work ground. Old
Japanese. 447.
This and the two following objects are in fine old yellow bronze, and
form a set of articles used at a temple or household shrine.
CANDLESTICK. Bronze. In form of a stork supported on a tailed
tortoise, and with the stem of a water-lily in its mouth, the
' flower of which forms the candle-holder.. Old Japanese. 448.
Incense Burner, round. Bronze. On three legs, with three
projecting bosses of lions’ heads; the pattern is similar to that
of the vase No. 447; on the openwork cover is a conven-
tionalised lion. Old Japanese. 449,
TEA-KETTLE. Rich black antique bronze, with a dragon handle,
dragons and floral sprays decorating the surface. Old Japanese.
450.
Vase, with large tazza-shaped mouth; for ceremonial bouquets.
Bronze. Round the body is a separate decoration of waves and
dragons, Old Japanese. 451.
Waxt Vast, for flowers. Iron, inlaid with gold, silver, and alloys
of metals, a portion of the design being two demons with sprays
of flowers in their hands. Old Japanese. 452.
_ This is very antique, and isa specimen of the early attempts of the
Japanese in metal work, It should be compared with the sword-
hilts and ornaments (Nos. 630, 631), which may be considered to
illustrate the highest perfection to which they have attained.
Vases, a pair. Antique black bronze. With large inverted
conical mouths, springing from bulbous-shaped bodies, which are
decorated with crests in gilt of the Shogun; the handles are
shaped like elephants’ trunks, and the lower part of the mouths
have bands of chased fret-work. Japanese. 458, 454.
BRONZES, 7
Vase. Bronze. The edge of the foliated rim is engraved in a
fret-work pattern, and; the body in conventional patterns; the
stand is of peculiar construction, representing clouds, amongst
which are hares running. Japanese. 455. -
FLowErR Vasr. Bronze. The base is formed of two toads, and
from the mouth of one springs a lily. Old Japanese. 456.
Bowt, on three legs. Bronze. Old Japanese. - 457.
FLower VASE, Bronze. With a purse-shaped basket on a
cart; a favourite design with the Japanese. Japanese, 458.
Vase. Bronze, hexagonal and shallow. Supported on a tri-
angular, three-legged pedestal, and ornamented with /o-hos
(pheenixes) and dragons on a fret-work ground. Old Japa-
nese. 459.
Temete Bett, Bronze. Old Japanese. 460.
Incense Burner. Bronze. Representing mountainous scenery
with clouds and a dragon ; on the lid is a tiger. Old Japanese.
461.
Water Borter. Bronze. A rim is attached, for fitting into a
fire-place. Old Japanese. 462.
Vase or Hoiper ror CeremontAL Bovugunts. Old yellow
bronze, beaker-shaped. ‘Tailed tortoises form the base, and two
more the handles; on the body is engraved a representation
of waves. Old Japanese. 463.
Twa-KetrtLe. Bronze. Dragons form the handles, and gourds
the legs and the handle of the cover; the surface is cast to
represent waves. Old Japanese. 464.
Vases, small, cylindrical, a pair. Bronze, ornamented with
dragons and clouds. Old Japanese. 465, 466.
CANDLESTICKS, a pair. Double lips of lotus-leaves, and a lotus
flower in the centre of the stem; the legs are of quaint design.
Old Japanese. 467, 468.
Cras. Bronze. Finely modelled and life-like. Old Japanese,
469.
Incense Burner. Bronze. In the form of a horse, on the back
of which, and forming the cover, is a warrior, armed with bows
and arrows. Old Japanese. 470.
Cup, small. Bronze. Modelled in the form of a ghell. Old
Japanese. 471.
Haneine Lanterns, for a household shrine, a pair. Bronze and
brass. Old Japanese. 472, 4738.
Figure (small), of Daruma, (See No, 225.) Bronze. Old
Chinese. ; 474.
34 JAPANESE ART.
VAsx, small. Bronze. For holding lighted sticks of incense at a
household shrine. Old Japanese. “475.
Warrer Horver. Bronze. Small, gourd shaped, the lid hinged
to the handle; with scroll-work and floral decoration ; used with
an inkstand. Old Japanese. 476.
Water Hoxper. Bronze. Small, kettle-shaped, the lid hinged
to the handle ; used with an inkstand. Old Japanese. 477.
Torroisz. Bronze, beautifully modelled and of high finish. Old
Japanese. - 478.
Bowt, flat. Bronze. Ornamented with sprays of foliage of a
lighter shade of metal ; rivetted over the lip are six small
ornaments. Fine old Japanese. 479.
TEA-KETILE. Bronze. Ornamented with sprays of foliage
damascened in silver, and with ornamental fringe overlaid and
rivetted on around the upper edge; on the lid is a spray of
bamboos and a_ bat, also more rivetted ornaments. Old
Japanese. 480.
Incense Burner. Bronze. Small, cup-shaped, with perforated
cover; for use at a household shrine. Old Japanese. 481.
Cup, pear-shaped, on three feet. Bronze. With dragon handles,
and dragons in raised work on the sides. Old Japanese. 482.
Pen Resr or Paper Wetenr. Bronze. A graceful spray of
the gourd plant with its leaves and fruit, in fine workmanship.
Old Japanese. 483.
Brazier, small, for use in a tobacco-box. Bronze. Representing
a rustic cottage, and its thatched roof; the“ Kiku-hanna” in
different bronzes ornaments the sides in relief. Old Japanese.
484.
Asupor (to match No. 484). Bronze. The “ Kiku-hanna” in
different bronzes, ornaments the sides in relief; the cover is in
imitation of an agriculturist’s hat. Old Japanese. 485.
Wat. Vase for flowers. Bronze. It imitates a wicker or iron
mattrass, which when filled with stones, is fastened against the
banks of a stream, to prevent them from being washed away.
The grapnel by which such protections are sometimes fastened,
is shown attached. Old Japanese. 486.
Warer Houper for moistening ink. Bronze. Representing a
cottage with a tree growing against one corner. Old ie
.
Warer Hotper. Bronze. In shape of a small kettle, with
dragon handle, a cock’s head as mouth, and a turtle on the lid.
There is an inscription in Chinese characters on the side. Old
Japanese. 488.
BRONZES. 35
Water Horper. Bronze, in form of a lily-leaf and stem, with
berries. Old Japanese. 489.
Vase, cylindrical, on six feet. Bronze. A dragon and ciouds
conventionally treated, in high relief, and an inscription in old
Chinese characters form the ornament. Old Japanese. 490.
Pen Rest or Paper Werenr. Bronze. <A dragon. Old
Japanese. 49}.
Basket, small. Bronze. Open basket-work. Old Japanese.
. 492,
WatTER Hoxiper. Bronze. Vase-shaped, on six. feet, with a
dragon on one side. A tube is attached to the lid, which retains
the water pneumatically. Old Japanese. 493,
Water Hoiper. Bronze. Basket-shaped, with handle. Old
Japanese. 494,
Ficure, grotesque. Bronze. Old Chinese. 495.
Vase. Fine polished bronze. Square-sided, with Buddhist
characters on the side. Old Japanese. 496.
MopELs, a set of seven, of different Buddhist temples, shrines, a
bridge, and a pagoda. Bronze. Japanese. 497 to 508.
Bown. Pewter. Engraved with fan-shaped designs in the
interior. Japanese. 504,
Mirrors, a pair. Inlaid metal, the backs wrought in high relief.
Japanese. 505, 506.
Mopet of a drum. Silver and shibuichi, The shape used by
dancing girls. Old Japanese. ‘507.
Sworp ORNAMENTS. Iron and bronze, inlaid with different
alloys of the latter, and gold and silver. Old Japanese.
508 to 518.
Knire Hanpie. Bronze, encrusted with a gilt lobster. Old
Japanese. 519,
Hanvies for sliding doors, a pair. Bronze. A spider and. its
web, in which a fly is caught. Old Japanese. 520.
Figure or A Crane, life-size. Bronze. Japanese. 521,
This and the following pieces to No. 532 are a group of articles such
as the Japanese like placing in their landscape gardens. When
arranged in appropriate situations, the life-like attitudes of these
birds often deceive experienced eyes,
Figure or A CRANE. Bronze. Japanese, 522,
FicuRE OF A Crane. Bronze. Japanese. 523,
Ficure or A Crane. Bronze. Japanese. 524,
FiGurE OF A CRANE. Bronze. Japanese, 525.
a JAPANESE ART.
Figure or A Toap, with its young one on its back. Bronze.
Japanese. 526.
Fieurr or a Toap, with its young one on its back. Bronze.
Japanese. . 527.
Figure or A Toap. Bronze. Japanese. 528.
Figure or A Toap. Bronze. Japanese. 529..
Figure or a Toapv. Bronze. Japanese. | 680.
Figure or A Toap. Bronze. Japanese. 531.
Fiaure or A Toap. Bronze. Japanese. 582.
Necxter. Bronze. Consisting of seven medallions, illustrating
various subjects. Old Japanese. 5338.
The subjects are as follow :—
. diu-ro-jin (God of good luck).
. Tea at a wayside inn.
. Cock-fighting.
. Scene from a play.
. Fan-making. ,
. Lotus flowers, leaves, and insects.
. “All flesh is grass.”
FOO Oe
Braceter. Bronze. Consisting of twelve. pieces, illustrating »
various subjects: Old Japanese. 534.
The four largest are as follow :
1, Flowers and leaves, : 2
2. ©*Sandzu,” is the Buddhist Styx, which separates Paradise from
“ Hell, across which the dead are ferried by an old woman
“ for whom a small piece of money is buried with them.”—
Mitford’s * Tales of Old Japan.”
3. Street scene on a sunny day. (See No. 554.)
4. Scene from a legend, of a man talking with a bird.
.
Harrines, @ pairs Bronze. Of four pieces, two being groups
of figures and two of birds. Old Japanese. 535, 536.
BAmBoo-stEM, with leaves and birds. Bronze. Old cts a 1
Drarn’s Heap AnD Bones. Bronze. Old Japanese. 588.
Brrps, Insects, anp Frowrrs. Bronze. Old Japanese. 539.
Fry anp Sreps. Bronze. Old Japanese. 540.
ConcER-ELLS. Bronze. Old Japanese. 541,
A Hanp ciurcnine at Gorn. Bronze. Old Japanese. 542.
A Carerpiitar. Bronze. Old Japanese. 543.
Figure. Bronze. A poet on a breezy day. Old Japanese.
544,
Group. Bronze. A combat between a woman and demons.
Old Japanese. 545.
ae
eee ee 4
BRONZES. - 7
Fieure. Bronze. A Chinese general riding over the sea. Old
Japanese. 546.
Figure or A SNAKE TWINED ROUND AN oLp Stump. Bronze.
Old Japanese. 547.
A CHILD LEARNING T0 PLay THE “SaMIsEN” orn GUrTAR.
Bronze. Old Japanese. 548.
A MAN TREACHEROUSLY ATTACKING ANOTHER WHO IS PLAYING A
Frure. Bronze. Old Japanese. 549.
Grovur or Actors. Bronze. Old Japanese. 550.
“A Port. Bronze. Old Japanese. 551.
Group or “GarsAs” or Minstrets. Bronze. Old ain
Group or Demons. Old Japanese. 558.
Bronzr. A rainy day. (See No. 534.) Old Japanese. 554.
Group or Actors. Bronze, Old Japanese. 555.
Ourisuima-raro, Bronze. (See No. 230.) Old AEP ANCA D
A Woman at a Srream. Bronzé. ‘Old Japanese. eg
DarvuMmA (?) AND A DrAGon. Bronze. Old Japanese. 558.
Grour of Actors. Bronze. Cld Japanese. 559.
Group. Bronze. A woman and child. Old Japanese. 560.
Group. Bronze. Buddha struggling with a demon, and, judging
from his expression, getting the better of him. Old Japanese.
561.
A Poxtess. Bronze. Old Japanese. 562.
A Woman cyorrinc. Bronze. Old Japanese. 563.
OrricrrR AND UMBRELLA, Bronzé. Old Japanese. 564.
Daruma. Bronze. Old Japanese. 565.
A WoMAN STANDING NEAR A Garn-post. Bronze. Old Japa-
nese. 566.
A Wasp. Bronze. Old Japanese. 567.
A Fracetiant, Bronze. Old Japanese. 568.
Group. Bronze, Twodemons. Old Japanese. 569.
A GIRL BATHING, AND AN OCTOPUS CLINGING ROUND HER
| Anctrs. Bronze. Old Japanese. 570.
A. WoMAN BECKONING From A Batcony. Bronze. Old Japa-
Rese. 571.
a JAPANESE ART
A Woman Maxine Fans. Bronze. Old Japanese. 572.
Group. Bronze. A man trying to frighten a child with a mask.
Old Japanese. 573.
A MAN CLIMBING ‘A LARGE IMAGE oF DaisuTO or BUDDHA. -
Bronze. Old Japanese. 574.
Knire Tor. Bronze. Yébisu, the Fisher God. Old Japanese.
; 575.
Ficure of a Water-Beetle. Bronze. Old Japanese. 576.
Group. Bronze. A procession of frogs. Old Japanese. 577.
Kyire Tor. Bronze. Daikoku, the God of Plenty. Old Japa-
nese. 578.
Figure of a Crab, moon-struck. Bronze. Old Japanese. 5°79.
Group. Bronze. A demon leading a frog. Old Japanese.
580.
A DrMon FANNING A Free, at which he is roasting an ear of
Indian corn. Bronze. Old Japanese. 581,
Group. Bronze. A manand woman. Old Japanese. 582.
A Preacuer. Bronze. Old Japanese. 583.
Grove. Bronze. A kite flying away with a fish, which a boy
has been carrying on a tray. Old Japanese. 584,
A Bree. Bronze. Old Japanese. 585.
Group. Bronze. Kap-pa, a sea-demon, on a man’s shoulders.
Old Japanese. 586.
Of this creature there are stories told like that of the “ Old Man of the
Sea,” in the Arabian Nights’ Tales.
Group. “ Watanabé” attacking the “Oni” or Ghoul, when sent
by “ Raiko” to exterminate such creatures. Old Japanese.
587.
A Man praying A “Korox” or Harr. Bronze. Old Japa-
nese. 588.
A MAN apout To CAst ouT BEANS, a custom common at the new
year. (See No. 279.) Bronze. Old Japanese. 589.
A Poer reapinc. Bronze. Old Japanese. 590.
Grovur. Bronze. A man beguiled by a fox. (See No. 261).
Old Japanese. 591,
Grover. Bronze. A man anderane. Old Japanese. 592.
Grover. Bronze. Man and woman fording a stream. Old
Japanese. 593.
Group. Bronze. Three frogs. Old Japanese. 594.
ARMS AND ARMOUR, 39
Group. Bronze. Two women anda child. Old Japanese.
595.
Group. Bronze. Demons. Old Japanese. 596.
Grovur. Bronze. Frogs and lantern. Old Japanese. 597.
Driep Satmon. Bronze. Old Japanese. 598.
CHILD PLAYING AT Batt. Bronze. Old Japanese, 599,
PRINCE OWADJIMA UNDER A CHERRY-TRER. Bronze. Old
Japanese. ; 600
CiiLp sprnnine A Top on its Heap. Bronze. Old Japanese.
601
Cuarms, twelve. Bronze. Old Japanese. 602 to 613.
They consist of six seent-bottles of various shapes, teetotum, box, pen-
_ ease, boat, and two chased and filigree beads.
ARMS AND ARMOUR,
With all nations, and in all ages, until fire-arms came
into general use, has the highest art been displayed in the
manufacture of weapons and armour, and it is only when
they have been brought to perfection, and intervals of peace
secured to a nation by the use of them, that the talent of
the artist has been applied to the improvement and deco-
ration of more peaceful objects. ;
In most of the museums of Europe, weapons and armour
formed the nucleus of the collections, to which were next
added religious relics and specimens of temple and church
architecture and decoration.
Unlike European and most Asiatic armour, in which
nothing but metal was used to cover every inch of the body,
rendering the wearer incapable of any freedom of action,
Japanese armour is made up of various protecting pieces,
fastened to a dress of stout cloth, brocade, or padded silk,
the spaces between being filled in with chain mail, The
hips are covered with a skirt in which are laced or woven
metal plates’ or scales ; broad epaulets protect the shoulders,
and a helmet with vizor and curtains covers the head, face,
and neck. The Japanese warrior, therefore, whilst fully
protected wherever a wound could be inflicted, carried much
less weight, and enjoyed much greater ease, than his counter-
part in the Western Hemisphere, and was able to fence
- almost as freely as though unarmed ; but it may be doubted
whether our medieval knight in armour was ever able to
do more than hold a lance firmly for a direct tilt at his
39016. D
40. . JAPANESE ART. —
opponent, or deliver a heavy blow downwards at him, with
mace or battle-axe.
The best efforts of the worker in metal, assisted by the
lacquerer and weaver of silk, are brought to bear upon
the manufacture of these suits of armour. The breastplates,
greaves, and armlets, are of repoussé work, engraved, .
damascened, or encrusted ; the chain mail is of wonderful
design ; all loose plates are lacquered in a manner almost
as hard as, and resembling metal itself. The helmets
are beautifully wrought and decorated, and will resist
the heaviest blow from a double-handed sword, and are
surmounted by a dragon or other crest, and a horse’s tail or
osprey plume. The vizor, which fits the face like a mask, is
made fierce in expression, and is sometimes furnished with
a moustache. ;
‘Surr of Futt-Dress Armour, worn by a prince or generalissimo.
The metal-work is secured to rich brocade or woven in with
stout silk cord. The cuirass, parts of the sleeves, and greaves,
are of fine repoussé work, the désigns being fabulous animals,
the peony, and bamboo foliage.. The helmet is thickly studded
with nails, ornamented with silver plates, and gilt metal mounts
richly wrought, and surmounted by a horse’s tail and fine osprey
plume. The ornament in front is the head of a monster with
horns, and large gilded metal projections of peculiar shape, of
very common use on helmets. The vizor,; which covers the
whole of the face (except the eyes) and the ears, is lacquered
red, and furnished with a ferocious looking white moustache.
The mountings of the suit are of richly wrought metal, gilded ;
all fastenings are of silken cord. In the right hand of the figure
is a general’s baton (No. 615) or wand, with which words of
command are signalled to troops in action. The crest on this
armour (two feathers crossed, and contained in a circle) is that
of the Prince of Ake or Gaisheu, by whom it was presented to
the owner. Japanese. 614, 615.
Campsroot., for use in the field. Inlaid with mother-o’-pearl and
with gilded leather seat. Japanese. 616.
Suir of, Armour (similar to No. 614). The cuirass is formed of
seales laced together with silken cording; the armlets and
greaves are of long plates and chain mail; the helmet, which
is of plain iron, is surmounted by a dragon carved out of wood ;
the crest is that of the Prince of Awa. Japanese. 617.
Suir of Prain Armour. Smooth lacquered cuirass armlets of
chain-mail, helmet of lacquered iron, surmounted, by a gilt
dragon. Japanese, 618.
Armor, suit of. Helmet and vizor of lacquered iron, with the
Prince of Ake’s crest, cuirass of plain iron, with skirt, pair of
™“
\
ARMS AND ARMOUR. 41
greaves, and pair of sleeves, of gilded and bronzed metal-work.
Japanese. 620.
Hetmer. White metal and brass mountings; in front is the
crest of the Prince of Kuana, and behind hangs a white silk
tassel. Japanese. 621.
Hart, flat and round, Iron, repoussé, with design of dragon
ornament. Japanese. 622.
Coar of Marr, used for covering a war-horse. Japanese. 628.
Hap Piece. Bronze. 'To protect a horse’s head. Japanese.
624.
Fan used in warfare. The framework is of lacquered iron,
strong enough to resist a heavy sword-cut. Japanese. 625.
War. Drom, fitted into a wooden frame, with slings attached for
carrying it on the back. The cylinder is of wood, and the
parchment heads are ornamented with a three-coiled design
(the “ mitsu tomoi”), which is the crest of the Prince of Arima,
and generally seen on drums. Japanese. 626.
War Drum. The cylinder is of wood, the parchment heads are
curiously decorated. (This resembles No, 625, but is flatter in
shape). Japanese. 627.
War Horn. Formed of a large conch-shell, with mouth-piece
of black lacquer. The sounds produced by this horn are very
loud and deep-toned. Japanese. 628.
War Gone. Formed of a round, flat plate of solid white metal,
with a Buddhistic design on one side which is common in the
temples of that religion. It is beaten with a wooden hammer,
and the tone is very harsh and shrill. Japanese. 629.
SWORDS.
The “ KATANA” (sword) has always been considered the
badge of gentle condition in Japan. Of late, the wearing
of these weapons has been by no means common in the
eastern capital, Tokio, or such parts of the country as are
in most contact with the foreigner. The rules of observance
connected with the wearing of the long and short sword, or
the single sword, are most minute, but have fallen into
disuse. In former days the most trivial breach of these
minute observances was often the cause of murderous
brawls and dreadful reprisals. To touch another’s weapon,
or to come into collision with the sheath, was a dire offence,
and to enter a friend’s house without leaving the sword
outside, a breach of friendship. Those whose position jus-
tified the accompaniment of an attendant, always left the
p.2
42 JAPANESE ART. -
sword in his charge at the entrance. If removed inside,
_ it was invariably done by the host’s servants, and then not
touched with the bare hand, but with a silk napkin kept
for the purpose, and the sword was placed upon a sword-
rack, in the place of honour near the guest, and treated
with all the politeness due to an honoured visitor, who
would resent a discourtesy. When the visitor came alone,
the long sword (if two were worn) was laid down at the
entrance, or was withdrawn, sheathed, from the girdle, with
the right hand, and placed on the right side, an indication of
friendship, as it could not be drawn and used thus—never
by the left hand, or placed on the left side, except when in
immediate danger of attack. To exhibit a naked weapon
was a gross insult, unless when a gentleman wished to show
a friend his collection. ‘To express a wish to see a sword
was not usual, unless when a blade of great value was in
question, when a request to be shown it would be a com-
pliment the happy possessor appreciated. The sword would
then be handed with the back towards the guest, the edge
turned towards the owner, and the hilt to the left, the
guest wrapping the hilt either in the little silk napkin
always carried by gentlemen in their pocket-books, or in —
a sheet of clean paper. The sword was drawn from the
scabbard, and admired inch by inch, but not to the full —
length, unless the owner pressed his guest to do so, when,
with much apology, the sword was entirely drawn, and
held away from the other persons present. After being
admired, it would, if apparently necessary, be carefully
wiped with a special cloth, sheathed, and returned to the
owner as before.
The short sword was retained in the girdle, but at a
prolonged visit both host and guest laid it aside. Women
did not wear swords in their girdles by right or fashion,
although when travelling it was “often done.
All details concerning swords were thoroughly studied
by every Japanese gentleman, and experts were pensioned
by the Tokugawa (T ycoon’s) government, to teach the true
marks,
The edge of the Japanese sword was tempered separately
from the body by being covered with clay when placed in
the fire, which process br ought out the working peculiar to
these swords called “ ya-ki-ba.” These processes were varied
according to the different districts where the swords were
made, and, with the shapes of the shafts and marks thereon,
were a serious study to all swordsmen.
The names of makers are innumerable; and each has ts
SWORDS. 43
peculiar form of blades, and mode of welding the hard metal
of the edge to the softer and tougher body and backing.
Swords more than three centuries old are common enough,
and all of later date are called “new blades” (“shinto ”).
Blades made even as far back as our Crusades are to be
met with, and there are some known to be nearly ten
centuries old, though these are very rare now. Ama Kumi
and Shin Soku are two of the oldest makers whose swords
are stillin existence. The former was the first known maker,
and lived about A.D. 700. After him comes a long list of
celebrated makers, who are supposed to have been helped
in their work by different spirits and demi-gods.. In
A.D. 1320 lived Go-no Yoshiro, who is the most celebrated
of these renowned makers; he proudly refused to cut his
name on the blades, saying that their superiority would be
recognised without this. In A.D. 1822 Mura Masa was
working; his swords are looked upon with a superstitious
reverence by natives of all classes; they would, it is said,
cut a sheet of paper floating on a stream, if the sword
were only held in the water to meet the paper. Such was
the reputed keenness of these weapons, and so great the
desire to test them possessed by the owners when a, fitting
opportunity occurred, that the Tokugawa Government
forbade their being worn. Notwithstanding this reputation,
they have also that of being unlucky, and are supposed by
the superstitious to hunger after taking men’s lives, and
to be unable to repose in their scabbards. Particularly to
the Tokugawa family have they proved inauspicious. The
specimens in this collection (Nos. 632, 633) were given to
the owner as a recognition of some kind services; they are
extremely difficult to get, being handed down in families
as heirlooms, and only parted with very rarely.
In A.D. 1326, Masa Mumé, one of the most celebrated of
sword makers, forged some of his best blades, which are
still in existence, and are welded in a peculiar manner,
These old weapons of a superior quality, and made before
A.D. 1570, are called “ Koté ;” they are frequently presented
to shrines.
There are numerous legends connected with the swords
of celebrated heroes, which are familar to the people.
There are several varieties of these weapons. The most
usual kinds worn being the “ Katana,” with a blade rather
more than two feet long, and the “ Wakizashi,” or small
sword, worn with it, with a blade rather more than one
foot long. ‘The others are “ Chisa Katana,” about two feet
44 JAPANESE ART.
to ree and a half feet long, rather lighter than the aaa
blade, and worn with the court dress.
« Metezashi” (right hand use) is a short sword stuck in
the girdle bebind, the hilt to the right, used in fighting if.
the wearer be thrown and unable to draw the swords on
the left side of the girdle, ,'
“Aikuchi” is a short dirk without a guard, worn by
doctors, artists, and officials of the 4th and 5th class,
“Tanto” and “Mamori Katana” are. stilettos about
one foot long or less, worn in the girdle by gentlemen,
officers, and nobles, in place of the more cumbrous Waki-
zashi.
“ Jintachi” (war-sword) is a long, heavy, two-handed
sword, generally carried by a sword-bearer when not in
immediate use,
“ Nodatchi” is a sword of medium size, worn when
hunting or rambling in country places for pleasure.
“Tatchi” is hung from the girdle by two slings; there
are several styles of these.
“Shin-no-tatchi ” has a shagreen hilt, and on the guard
and scabbard, and other mountings, there should. be 75
examples of the owner's crest.
“Yefu-no-tatchi” has a lacquered and gilt scabbard,
“Saya maki” has a portion of the scabbard bound with
silk.
The mountings are numerous, and the making of them.
was a special and honourable trade. Goto Yujo was a
celebrated maker of the 15th century, whose descendants
still exist. The work of this family is called “'Tyebori”
(the family’s chasings). The first group, called “ Articles
of three places,” comprises,—
Ist. The ferule on the head of the hilt, and the ring
behind the guard.
2nd. The two pieces of metal interwoven with the silk
binding of the hilt, used to hide the hole of the rivet and
to ensure a better and firmer grasp of the sword hilt.
3rd. The small knife and skewer-like pieces of metal
inserted into the scabbard so as to be drawn out for use at
pleasure. The knife was used to be thrown at an enemy,
the skewer to attach the heads of slain enemies to the
girdle.
The guard (tsuba) is often a wonderful piece of workman-
ship in metal. “ Nanban ” (southern iron) was considered the
best, but they were often made of valuable metal and worked
up with gold, silver, &c. into detailed pictures of battles,
SWORDS. a
hunting, or scenery. Nearly every article connected with
the sword is richly inlaid to correspond. Guards are also
made of several thicknesses of leather or raw hide, called
““ neritsubo ;” “skakudo” (an alloy of gold and copper) ; and
“shibuichi” (an alloy one-fourth silver and three-fourths
copper). Silver and gold are used as well as iron.
“ Seppa” are the washers, of which there are one or more
above and below the guard, made of flat pieces of metal,
brass, silver, or gold.
“ Habaki” is a ferule on the “forte” of the sword, ex-
tending about an inch below the guard, made of the same
metal as the seppa.
“ Kojiri” is the ornamental ferule on the lower end of
the scabbard, often very expensively inlaid to match the
other mountings.
“Kurikata” is the small eleat on the scabbard through
which the “Sage-wa” or silk cord is rove, This is of
various materials, and generally made with the seabbard.
“Saguri” is a small hook on the scabbard, to prevent
the sword from slipping too far through the girdle.
“T'ska-ito” is the silk cord bound cross-wise on the hilt.
There are several styles of binding. Some swords have
only sharkshin hilts without silk, but generally the silk
binding is over the skin (“same”), those pieces having the
largest “modules” being the most valuable.
The sheath or scabbard (“skia”) is made of a wood
called “Ho,” generally varnished. Black and dark colours
are preferred, gaudy crimson and variegated colours are
effected by old swashbucklers. Leather covers are worn
over the handsomely lacquered scabbards on which shark-
shin, ground down, and inlaid with shell-work of peculiar
kinds of lacquer, is sometimes seen.
“Sage Wo” is the long silk cord of various kinds and
colours, of about five feet in length for large swords, and
half that length for short swords, used to bind up the
_ sleeves preparatory to fighting.
On. journeys, the gentleman’s sword-bearer carried the
honoured blade, covered with the “Skikihado,’ a sword-
cage of leather cloth, emblazoned with the owner’s crest,
There are grooves or hollows in the blades filled in with
crimson lacquer or carvings. Dragons, verses, and mottoes
in Chinese and even occasionally Sanskrit letters are en-
graved on. the sword-blades,
46 ‘JAPANESE ‘ART.
Sworps, a pair of very richly decorated, full dress. In black:
lacquer scabbards, with countersunk devices. Old Japanese.
6380, 631.
{n the “ Katana,” or longer of the two, the guard is of “ shibuichi,” -
an alloy of silver and copper; upon one side is depicted a fox
among foliage of gold, and the full moon in silver, with clouds
passing across it; and on the reverse are stems of trees with ricks
of straw fastened round them, and a “Tori,” or temple gateway ;
upon the ferule or head of the hilt is a bull in high relief, an
admirable instance of artistic fore-shortening. On the ring behind
the guard are also a bull in high relief, and flowers in silver, gold,
and different alloys. The studies in metal, interwoven with the
silk of the hilt, are very fine; the ferule at the end of the scabbard
is in a different style of metal-work, and represents a white elephant
behind trees, and a human figure.
The guard of the “Wakizashi” or shorter sword is of “shakudo,”
an alloy of gold and copper. The design on one side is a golden
pheasant, with trunk and branch of the sakura, or flowering cherry-
tree; on the reverse are rocks, ferns, and a stream of water; the
ferule on the top of the hilt is a demon with a drawn sword; the
ring above the guard is a demon running; the ferule at the end
of the sheath is very finely wrought in imitation of the texture
of woven silk, and ornamented with fern leaves in gold and
“ shakudo.”
On the hilt of the small knife inserted inside the scabbard is a dragon
in gold coming out of the sea, with Fusiyama, snow-capped (with
silver), in background; this is the dragon which is believed to.
guard the mountain, and its breath (here represented by dark metal)
is supposed to form the clouds which often cap its top, or circle
round its base.
Sworp Brapr. Made by a celebrated sword maker named Mura
Masa, who lived in the early part of the 14th centYy. Old
Japanese. About 1822. (See remarks, page 43.) 682.
Sworp. A “Mamori katana,” worn in. the girdle by nobles and
officers of rank in place of the “ Wakizashi,” and with which the
“harakiri” or disembowelling was committed. Old Japanese.
633.
The seabbard and hilt are of a hard Chinese wood called “ Taga-ya-
san,” which is highly valued by the Japanese ; the mountings are of
solid silver. The skewer at each side of the scabbard is formed of
two pieces, and when separated, can be used as chop-sticks. The
ornaments on the hilt are the ho-ho» or phenix, in gold ‘and
“hiakudo,” the execution being very fine; the fitting of the blade
into its sheath is a marvel of workmanship; the characters on the
blade are “ Hachi Man Dai Bo Satz,” the name of a Shinto deity ;
swords with this inscription upon them are called “ Shin Keng,”
or “Swords of the Gods ;” they are believed to possess very great
virtues, and to impart superhuman skill to the user in fighting, or
to enable him, if committing harakiri, to perform the operation
effectually.
» Sworp. A “ Mamori katana,” in black lacquered scabbard, with
mountings of gold, shakudo, and shibuichi. Old Japanese. 634.
Sworps, a pair of full dress. In scabbards of speckled white
lacquer with guards and mountings of iron, inlaid with figures,
birds, bats, and leaves in gold. Old Japanese. 635, 636.
\
SWORDS. ah
Sworp. “Katana,” or long sword, in rough black lacquer seab-
bard; the mountings of hiakudo beautifully chased, and with
gold edging. In the design of the chasing is the crest of a
prince. Old Japanese. 637.
Sworp. A “yefu no tatchi,” or “glim no tatchi,” worn by
“ Kuges,” or members of the Mikado’s family. The hilt is of
shagreen, the scabbard of avanturine lacquer, with crest in
plates of gold and mountings in gilt metal; there are 40 repeti-
tions of the owner’s crest on this sword. Old Japanese. 638.
SPEARS.
After swords, the next weapons which claim attention
are SPEARS. They were used as insignia of rank, and
borne by retainers before noblemen or high officials when
travelling or paying visits of ceremony, or placed in the
hands of the rank and file only of an army; they do not
exhibit the same amount of rich and painstaking orna-
mentation that is bestowed upon the weapon constantly
worn on the person, although considerable taste and skill
are displayed in their decoration and finish. .
The blades are all, like the swords, edged with the purest
steel, and are kept as sharp as a razor. ‘The sheaths are of
various descriptions of lacquer, the staves of the toughest
wood, lacquered or varnished, . When not in use, the
spears forming insignia are supported in a rack which stands
in the hall or outer reception room of the house, fronting
the entrance ; other spears are ranged at the sides of the
hall, as are also the bows and quivers, armour-trunks, and
saddlery belonging to the family.
The management of the spear was taught to the
Samurai classes, the same as the sword exercise, and great
skill was attained to in the use of it. Ladies of high rank
were also instructed in its use. Fs:
Spear. Plain varnished wood staff, the upper part inlaid with
mother-o’-pearl, with bronze ferule; the head is trident-shaped,
the sheath being of rough white lacquer. Japanese. 639.
Sprar. The staff is plain varnished wood throughout, and the
trident head is secured to it with bronze ferules ; the sheath is
of rough red lacquer. Japanese. 640,
Spear. The staff is plain varnished wood, and the upper part,
to which the short lance-shaped head is secured, is ornamented
with mother-o’-pearl, shagreen, and silver-plated and bronze
ferules; the sheath is of black rough lacquer, with a gilded
band round the centre. Japanese. 641.
48 JAPANESE ART.
=
SPEAR. Plain oak staff, the upper part ornamented with
alternate stripes of mother-o’-pearl and black lacquer, bound
with silver-plated ferules, and with a curved sword blade head
in black lacquered sheath. Japanese. 642. -
Spear. The staff entirely inlaid with mother-o’-pearl, the
upper part bound with ornamental silver-plated ferules; with
curved sword blade head in black lacquered sheath, with the
Prince of Hizen’s crest in gold. Japanese. 6438.
Srear. The staff inlaid throughout with mother-o’-pearl, the
upper part black lacquer with metal and silver-plated ferules,
and with long, straight spear-head in rough red lacquered sheath,
tipped with metal. Japanese. ; 644.
Spuar. Plain wooden staff, the upper part mother-o’-pearl
bound with metal and silver-plated ferules, on one of which is
a crest; with long straight spear-head in black lacquered sheath,
tipped with metal. Japanese. 645.
Spuar. The staff black and gold lacquer, with running floral
pattern and silver-plated ferules ; with curved sword blade head
in sheath lacquered to match the staff. _ Japanese. 646,
Spear. Plain varnished wood staff, with black lacquered top ;
with short lance head in black lacquered sheath. Japanese.
647.
Spear. Plain varnished wood staff, the upper part smooth
black lacquer ; with metal ferules, and curved sword ‘blade
head in sheath of rough red lacquer. Japanese. 648.
Spear. Fine black lacquered staff, with. gilt crests; with
curved sword blade head in sheath lacquered to match the
staff, Japanese. 649,
SpEAR. Plain varnished wood staff; the upper part black
lacquer; with metal ferules, one of which forms the crest of
the Prince of Osokawa; and lance head in black lacquered octa-
gonal sheath. Japanese. 650.
Spear. Plain varnished wood staff; the upper part red
lacquer ; with short lance head in black lacquered octagonal
sheath, Japanese. 651.
S3rmar. Plain varnished wood staff ; the upper part. black and
red lacquer ; with metal ferules, and short lance head in black
lacquered sheath. Japanese. 652.
Spear. Plain varnished wood staff; the upper part black
lacquer ; with brass ferules, and short lance head in red
lacquered sheath. Japanese. 653.
Spear. Plain varnished wood staff; the upper part black
lacquer ; with white metal ferules, and lance head in’ black
lacquered sheath. Japanese. . 654.
a
SPEARS. «49
Spxar. Plain varnished wood staff; the upper part inlaid
with mother-o’-pearl; with silver-plated ferules, and short
lance head,-in black lacquered sheath. Japanese. 655.
Sprar. Short plain varnished wood staff; the upper part bound
with shagreen; with long sword blade head, in black lacquered
sheath, Japanese. 636.
Baper. A remarkable piece of military apparel called a “ Horo; ”
the distinctive badge of a general’s messenger or aide-de-camp,
and worn fastened to the back of the cuirass. Japanese. 657,
Lona Bows AND ARROWS.
If dexterity with the sword and skilful use of the spear
at close quarters decided many a sanguinary engagement in
Old Japan, we may be sure that strength of arm and cor-
rectness of aim, in the use of the bow, did as much in the
early stages of their battles to decide them as ever the
shafts of English bowmen did in our own Feudal times.
Like all their other weapons, bows were brought. to
the highest pitch of perfection, as the specimens in this
collection show, and, judging from their length and
strength there must have been many Robin Hoods and
William Tells in Japan. The bow was used on horseback
as well as on foot. Whether their mounted skirmishers
were able to make better practice than our own dragoons
with the carbine, it is difficult to say, but the fact points
to considerable skill, both in the management of horse and
bow. ! ae
Although old cross bows have been seen in Japan, they
do not appear to have been in general use.
The following story, illustrative of their prowess in
archery, is highly interesting :—
“Tn the year A.D. 1185, Nori-Yori and Yashi-Kune, the
brothers of Yoritomo, and the leaders of the Genji, had
defeated the Heiki, who fled to Dan-no-ura, in Yashima, a
province of Nagato, taking with them Toki-hito, the son of
the Mikado by the daughter of Kiyomon, the great leader
of the Heiki. A great storm coming on, hostilities were
suspended, and after its becoming calm a large vessel was
seen to approach the shore in the neighbourhood of the
Genji encampment. It was soon recognised as the Royal
barge, and a small boat was seen to put off from it, contain-
ing one of the ladies of the court ; she raised and spread
out a gilt fan, on which was painted a crimson sun (‘hi-
no-maru’), on the split end of a bamboo, and waved
towards the shore her own fan, made of thin hi-no-ki’
50 : JAPANESE ART.
(retinospera obtusa). Yoritomo, observing this, called
upon his followers to shoot at it with their long bows, but
all declined to attempt the feat; at last. Nasu-no-Yoicht
Munetaka, of Shimotzuki, was charged to support the fame
of the Genji in the face of the enemy, Taking but one
arrow, and mounting his war-horse, he vowed to succeed,
or in event of failure to commit suicide (‘ setzupuku,’ or
‘harakiri’), and then rode out into the shoal water as far as
he could towards the fan target. He then observed the.
boat to be so unsteady on the water, rising and falling on
the waves raised by the late storm, that his heart almost
‘failed him, but, closing his eyes, he fervently breathed the
warrior’s prayer (‘ Namu Hachiman Daibo-Satz’), and then
opening his eyes, saw the boat for a moment steady on the
moving billows. He then drew his bow, and releasing the
shaft, saw the fan rise aloft to the skies. A shout of
astonishment and admiration arose from the shore, and also
from the enemy, and all were congratulating and thanking
Munetaka, when one captious and jealous man disputed
the fact of the fan being struck, and accounted for its dis-
appearance by saying that it was profane to shoot at the
image of the Sun, and the Gods had snatched the fan away
to protect it from harm. Mumetaka then stated that he
had aimed at the iron rivet, and not at the round sun, but
this was discredited, and set down as a vain boast.
Presently, a boat approached tie shore from the Imperial.
-barge, bearing a flag of truce, and the messenger brought
back the arrow and the fan, with a complimentary message
from the Ten-O. On examination, the fan showed the
mark where it had been struck by-the arrow in the metal
rivet, as Munetaka had boasted. This clever archer was
the ancestor of the family of Satake, Prince of Akita, in
Dewa, and the family cognizance is a fan with a round
2
sun,
Lone Bows. A pair of very fine seven-foot bows; lacquered
black, and strengthened with a quantity of close binding lac-
quered in red. ‘The quiver is of variegated and black lacquer,
the design being trees and flowers. ‘The arrows, 24 in number,
are made of very strong and light bamboos, and the steel heads
are varnished to preserve them from rust. The stand is of
black lacquered wood, bronze, and leather, the latter being red,
ornamented with the crest of the Prince of Matsmai. <A leather
glove accompanies this set. Japanese. 658.
Lone Bows. A pair of very fine seven-foot bows lacquered
black ; the quiver is of plain black lacquer, with the crest of
the Prince of Awa in gold, and contains 12 arrows; the broad
LONG BOWS AND ARROWS. 51
flat-headed one outside is used in deer-hunting, which is a
royal sport ; the stand is of black lacquered wood, bronze and
leather. In addition to a glove, this set comprises a red lac-
quered leather holder for spare bow strings. Japanese. 659.
Lone Bows. A pair of seven-foot bows, lacquered black; the
‘quiver is an open one for using on horseback, the arrows
(25 in all) being secured in a peculiar manner; the gilded
leather part of the stand, and the shields on the ends of the
bows, are marked with the crest of the Prince of Kuana; there
are three of the deer-hunting arrows in this set. Japanese.
660,
Oven Qurtver, for use on horseback; ornamented with black
hogs’ bristles. Japanese. 661.
SADDLERY, suit of. Used by a daimio on state occasions, The
wood-work of the saddle and the metal stirrups are ornamented
with tailed tortoises in raised gold lacquer on avanturine
ground ; the saddle-flaps and the rest of the leather-work are
white, richly gilt, and ornamented with tailed tortoises and
cranes in relief; the reins are of crape, the rest of the bridle
and the clothing being of heavy silken cord and netting ; the
. Stout ropes fastened round the neck of the horse are held by
servants who walk or run, one on each side ; the smaller ropes
attached to the bit are for tying up the horse between wooden
uprights, which are used for the purpose, and are seen in the
courtyards of all palaces. Japanese. 662.
This is a very handsome and complete suit of saddlery ; one similar
to it was presented by Her Majesty the Queen to the South Ken-
sington Museum, No. 363-365.
Water Dirrer. Wood, the entire surface lacquered with mother-
o-pearl. Japanese. 663.
These dippers are carried stuck in the waistband behind by the
“ bettoes ” or grooms who always accompany equestrians in Japan.
Except on state occasions, they wear nothing but a loin-cloth and
girdle; their whole bodies are elaborately tattoed, sometimes with a
pattern representing tightly-fitting clothes. They are possessed of
great endurance, and often run 50 miles in one day, keeping their
masters in sight the whole time, and being always ready, when a
halt takes place, to use their dippers to wash their horses’ mouths
with water. ;
Insienra of a Frre-Bricgapr. One is a-gilded crest of the Prince
of Nambu, which shows its shape on three sides, and the other
is a handsome plume of black cock’s feathers. Japanese.
664, 665.
Fires being of very frequent occurrence, and often of overwhelming
severity, there are many Fire and “Hook and Ladder” Brigades,
the members of which wear thick felt clothing, with a large crest of
the brigade handsomely embroidered on the back, and helmets ; they
carry ladders, grapnels, ropes, and large hooks secured to the ends
of long poles (like mammoth boat-hooks) ; and the above insignia,
together with one or more paper lanterns fastened to similar staves,
52 ; JAPANESE ART,
are borne before them whenever they attend a fire, or parade for
exercise.
It is the duty of the governor of a town, or some other chief official, to
attend at all fires, which they do in the full uniform customary on
such occasions, and accompanied by servants bearing large lanterns,
also on staves ; as every other individual who appears also carries a
lantern, however bright the night may be, the sight which is pre-
sented is most picturesque. The firemen are most courageous ; the
native fire-engines (which until very lately were the only ones in
use) being of a most primitive description, the only way of stopping
the progress of a conflagration is to make a gap by pulling down
buildings in its vicinity. At this work they are very expert, and in the
execution of it their bravery and endurance are ealled fully into play ;
they climb like cats about the roofs of burning houses. to strip off
tiles or shingles, preparatory to bringing hooks and grapnels to bear
upon rafters or uprights, and in other ways perform feats of daring
impossible to be surpassed by Europeans,
Staves. Three. Surmounted by head-pieces of jagged iron-
work, one of them being of forked shape. Japanese.
666 to 668.
Japanese cities are divided into wards, separated by gates and guard-
houses; there are also guard-houses on the principal roads, where
they enter towns. Outside all of these stations a set of these staves
is kept in a rack, and should any person when challenged attempt to
pass without giving an account of himself, the police officers pursue
him with a staff, and if the loose clothing of the culprit ean only
be reached with the end of it, a sharp twist entangles it in the dress,
and he is caught. The forked one is for holding a dangerous person
against a wall by the neck ; the upper end of the staff being jagged
prevents him from grasping it.
POTTERY,
In the present collection of Japanese keramic ware, the
articles are divided into eight sections, called by the names
of the places where they are manufactured, as follows :—
Hizen, Owart, Ki0T0, Kaaa, Satsuma, AWATA, or OONSHIU,
Banko, and Tokio, In addition to these are a few pieces
from BizEN, and some others which it is difficult to
locate.
Messrs. Audesley and Bowes in their fine work now
publishing, “The Keramie Art of Japan,” give full informa-
tion about the potteries in that country. - The following
remarks are merely meant to give a general idea of each class
of ware now before us. PBA
The oldest known potteries were in HizEN. Most of the
pieces of Japanese ware to be met with in the old collec-
tions of Europe were made in Hizen, and exported from
Nagasaki in that proxince by the Portuguese and Dutch.
The section of “Hizen-ware” is here subdivided into
three parts, viz, blue and white, coloured, and céladon
faience ; the first kind is one of the most highly valued
LONG BOWS AND ARROWS. 53
porcelains amongst the Japanese, in which taste they are
justified by the delicate pate and colouring of many of the
pieces, This kind is rarely, if ever, crackled.
In many of the articles forming the second or “ coloured”
division, the prevailing tint is still blue. The pieces called
“ego-shell,” and those covered with rattan-work, are modern,
and were at one time to be found in large quantities in
the Nagasaki shops. Some of the pieces in this division
are, however, old ware, and these are always of beautiful
design and finish.
The third or “céladon” division does not furnish many
examples, but some of them are very choice.
Owart has also very old potteries, and they are next in
importance to those of Hizen. They produce all varieties
of porcelain, and some kinds of earthenware. There are
some good specimens of the blue and white kind amongst
the more generally coloured pieces in this division. Al-
though Hizen is the principal manufacturing district of the
Empire, a town in Owari named Seto gives the general
name by which keramic wares are known in Japan, viz,
“ Seto mono,” “mono” meaning “thing.”
Ki0rTo having been for centuries the capital and art
centre of the Empire, we find in the samples of its ware
now before us many fine and artistic pieces. The greater
part of Kidto ware is of a grey or cream-coloured crackled
surface, painted in colours, but some specimens of blue
and white are much valued, and this collection is fortunate”
in possessing two or three examples. One of the specimens
(No. 898) is of an uncommon character, and bears a strong
resemblance to some of the early Dresden ware. Altogether
we may consider that in this division are to be found some
of the most artistic and delicate kinds of faience.
Kaca. Not much is known of. the age of this ware,
which is valued by collectors for the richness of its colours
and the bold artistic beauty of its designs. That descrip-
tion which is in red and gold on a white ground (on which
is generally dot-work of red) is considered by many of the
greatest beauty, but in our idea nothing could be more
worthy of admiration than the many-coloured specimens,
which are almost entirely covered by medallions and designs
of the richest beauty.
SaTsuMA faience is, in all probability, of about the same
age as Kaga ware. Its almost universal characteristic is a
ground of pale cream or buff with a wavy glaze, more or
less crackled, and painted with different designs in colours.
Excepting in two examples (Nos, 976 and 1020) none of the
5 JAPANESE ART
Satsuma faience in this collection is decorated with human
figures, and such specimens are exceedingly rare.
AwAta or Oonsuiu faience is of cream-coloured, or of
deeper yellow ground, brightly glazed, and. decorated with
vivid colours, or splashed in different ways. It is often
found quite plain.
BANKO ware is mostly modern ; some specimens are of a
brown or grey glazed or unglazed earthenware, decorated
with enamel colours; another kind is a stoneware, of
extreme thinness, but durability, and very often ornamented
with seals and stamps alone.
Tokio ware. There is some uncertainty as to the extent
of the manufacture of porcelain at Tokio, asa large quantity
of the ware sold there is the product of other districts,
which has been sent to the capital for decoration. ‘The
principal specimens under this heading in the present
collection are large flower-pots, which are, in all probability,
made as well as painted in Tokio.
Hizen WARE, BLUE AND WHITE.
(In this division, except when otherwise especially mentioned, the articles
are of white with decoration of blue.)
Fiower-por, large, oblong, with indented corners, and raised on
four feet. Hizen earthenware. At one end is shown an old
mats (pine) tree, the branches of which are continued round
the other three sides of the pot; under these are kiku (chry-
santhemum) and other flowers, and on the two longer sides are
standing ho-hos (pheenixes). At each indented corner is de-
picted a bamboo stem and foliage; a floral scroll-work is
carried round the edge of the lip, and on the top are four
ho-hos on a ground of broken fret-work design ; four me-
dallions of flowers are placed at each corner. Japanese.
669.
Tarte LAKE, oblong, with circular ends and corners curved
inwards. Hizen earthenware; the sides and lip covered with
a floral scroll-work. Japanese. 670.
Tape Laks, small, oblong, raised on four feet. Hizen earthen-
ware; the upper edge and the feet are ornamented with scroll-
work, and on the sides are shown waves and birds. Japa-
nese. 671.
Tapie LAKE, round, raised on three feet. Hizen earthenware ;
the sides, lip, and feet are decorated with scroll-work and
medallions. Japanese. 672,
In these table lakes the Japanese make miniature gardens, and generally
an entire landscape of hill and dale, rocks, trees, shrubs, grass, and mossy
HIZEN WARE, BLUE AND WHITE. . 86
banks, pebbly water-courses, lakes, and streams with bridges ; the trees as old
and weird looking as any giant of the forest, the shrubs blooming, and the
grass and moss beautifully green.
STAND, square, raised on four feet. Hizen earthenware ; decorated
with three bold paintings of the dwtan or peony, and with
floral seroll-work round the sides and on the feet. Japanese..
673.
FLower-ror, oblong, raised on four feet. Hizen earthenware ;
at either end is a rich diapered pattern, at one end is shown
a dragon-headed ship in a stormy sea, and on the other is a
ho-ho (phoenix) and foliage; on the lip is a broken fret-
pattern, and on the inside isa fringe-like termination. Japa-
nese. 674.
FLOWER-POTS, two, round, raised on three feet. Hizen earthen-
ware ; on a general scroll-work ground are two large irregular
medallions, one of clouds with a bordering of. dragons, the
other of a rocky landscape with a bordering of ho-hos
(phoeenixes) ; the upper surface of the lip has a ground of scroll
and diaper-work, broken by three medallions of foliage, and a
fringe-like termination is inside. Japanese. 675, 676.
FLOWER-PoO?, round, on three feet. Hizen earthenware ; there
is an upright fret-patterned band at the base ; on the side is a
ho-ho with flowers and scroll-work ; on the lip and overlapping
the inside is a scale-pattern ornament. Japanese. 677.
FLower Por, round, raised on three feet. Hizen earthenware ;
a bold design of kiku (chrysanthemum) flowers in detached
masses, with a peacock and hen, is on the body; on the lip is
a mixed pattern of kiku flowers and diaper-work, with a fringe-
like termination inside. Japanese. 678.
FLOWER-POT, round, on three feet. _Hizen earthenware ; on it is
painted a rocky landscape with cuttages, the lip is also painted,
and a pendent pattern is inside, which is called by the Japanese
“ devil’s teeth.” Japanese. 679.
FLOWER-POT, round, raised on three feet. Hizen earthenware ;
above each foot is depicted a ho-ho, and between each is a
medallion showing a mats or pine, a sakura, or cherry, and a
taki or bamboo tree in a delicate blue ; the rest of the surface is
covered with scroll-work and leaves; on the lip is a broken
conventional pattern, and a pendent termination inside. Japa-
nese. 680.
FLoweEr-PoT, round, raised on three feet. Hizen earthenware;
on a blue shaded ground are thrown white mumé, or plum
blossoms, in relief, on the lip is a bold pattern, and inside is a
fringe of “ devil’s teeth” in blue. Japanese. 681,
FLOWER-POT, round, raised on tluee feet. Hizen earthenware ;
on it are depicted a butan (peony) and sakura (flowering
39016, E
56 JAPANESE ART.
cherry) tree, the blossoms of the latter being raised in white ;
the design is carried over the lip. Japanese. 682.
FLoweERk-PoT, round, raised on three feet. Hizen earthenware ;
bands of a fringe-like character are round the base, neck, and
lip, and inside are “ devil’s teeth ;” the body is of a sunk diaper
pattern. Japanese. — 6838.
FLOWER-POT, round, raised on three feet. Hizen earthenware ;
the base is of dark blue, with butan (peony) and foliage
depicted on it in white, and outline in sharp zig-zag ; on the
body, which is white, are four differently shaped medallions of
different designs, and on the lip are detached pieces of diaper-
work. Japanese. . 684.
FLOWER-POT, round, raised on three feet. Hizen earthenware ;
on the body are three medallions, each depicting ina slightly
different manner, birds, and waves; on the lip are six small
medallions of the same subject. Japanese. 685.
FLOWER-Pots, a pair, round.. Hizen earthenware; the outsides
are covered with a pattern of fans and lily leaves, which overlap
the insides in white, on blue ground. Japanese. 686, 687.
FLOWER-POTS, a pair, round, bowl-shaped, raised on three feet.
Hizen earthenware; irregular shaped medallions of different
designs are diapered over the surface, and a band of perpendi-
cular blue stripes finishes the top. Japanese. 688, 689.
FLOWER-PoTs, a pair, round, raised on three feet. Hizen earthen-
ware. On one side is the mats (pine) tree, some of the hranches
being carried over the lip, and on the other figures of demi-
gods. Japanese. 690, 691.
FLower-por, round, raised on three feet. Hizen eartheriware
on one side is a group of flowers, on. the other a bird, and on
the lip a pattern of leaves. Japanese. ~ 692.
FLOWER-por, round, on three feet. Hizen earthenware. It is
covered with detached sprays of a blossom and foliage conven-
tionally treated. Japanese. 693.
FLownmr-por, round. Hizen earthenware ; ornamented with a
branch of the sakura (flowering cherry) tree. Japanese. 694.
FLOWER-Pot, round, raised on three feet. Hizen earthenware;
covered with stripes of a diapered pattern. Japanese. 695,
Fern Pors, a pair, in shape of gourds. Hizen earthenware ;
covered by the gourd vine in white on a blue ground. Old
Japanese. 696, 697.
Vase, cylindrical, perforated at the base in three places. Hizen
earthenware ; a band of flowers and scroll-work is at the bottom,
another band is at the top, with ho-hos (phenixes) and floral
scroll-work ; round the centre part, which has a ground work
:
HIZEN WARE, BLUE AND WHITE. 57
of blue clouds, is encircled a white dragon in high relief. Old
Japanese. - 698.
TEMPLE LANTERNS, a pair, each in-six pieces. Hizen earthen-
ware; the bases are hexagonal, and on them are represented
waves; the stems are divided in the centres by double bands
of blue, and dragons amidst clouds conventionally treated wind
round it; the lanterns proper have perforated sides, one of
_which is left open for inserting the light ; these are surmounted
by roofs with pagoda-shaped corners, each corner being formed
of a lion’s head, and the whole terminated by sacred balls; on
different portions of the lanterns are bands of diapering.
Japanese. 699, 700.
Haneina Lantern. Hizen earthenware; two of the sides are
perforated to represent dragons, and two in a conventional
design ; one of the sides opens to admit the lamp or candle ;
the handle is perforated, and on the top is painted a dragon ;
the corners of the top are moulded into pagoda-like projections ;
the general design at the sides is of a scroll-work interspersed
with peonies. Japanese. : 701.
Cake or LuNcHEON Box, round, in four tiers. Hizen earthen-
ware ; covered with diamond-shaped designs of a conventional
character. Japanese. 702.
Frower-por Sranp. Hizen earthenware; rustic design, in
imitation of four crossed pieces of wood decorated with foliage.
Japanese. 703.
Brazier (“ Hibachi”) and perforated cover. Pure white
Hizen porcelain, of a beautiful finish and shape ; slightly raised
on three feet. Japanese. oaks 704,
BurraLo. Pure white Hizen porcelain ; a rope is shown fastened
to the nostrils, and wound round the body. Old Japanese.
705.
Bow s, shallow, a pair. Hizen earthenware, with decoration of
the Atku (chrysanthemum) plant. Japanese. 706, 707.
Pratr. Hizen earthenware ; in the centre are sakura (flowering
cherry) blossoms on a medallion, the ground of which is of a
broken diaper-work ; round the edge are scattered sakura
blossoms and buds. Japanese. 708.
SAUCERS, a pair. Hizen earthenware; the kikw (chrysanthemum
flower is painted on the insides, and on the outsides are
medallions of one of the sacred emblems. Japanese.
709, 710,
Bowt, shallow. MHizen earthenware ; with two small branches
on the inside, and one on the outside. Japanese. 14a
Puzzix Disn. Hizen earthenware ; formed by a set of seven
sweetmeat plates, each painted with a different flower. Japa-
nese. 712.
re
58 JAPANESE ART, '
BeerLe CAGE AND STAND, on three feet. Hizen earthenware ;
the cage is perforated over the entire surface in a diaper pattern.
Japanese. 713.
Beette Cage. Hizen earthenware; in the form of a bale,
fastened to a square stand on four feet by a silk cord; each
end is. perforated in a diapered pattern, and the band ‘round
the compressed part of the bale is also perforated ; the painting
is of foliage. Japanese. 714,
Bottie. Hizen earthenware ; decorated with water-plants and
fish ; a band is round the neck, and a fringe-like pattern droops
from the lip. Old Japanese. 715.
TeAa-pot. Hizen earthenware; ornamented with conventional
patterns ; the upper edge of the pot and the lid have fringe-like
decoration. Japanese. 716.
Tra-por. Hizen earthenware ; painted with grotesque figures of
Chinese children, deer, plants, and clouds; the lid is painted
with bats, and has a dog for the handle. Old Japanese. 717.
Trea-pot. Hizen earthenware; on it are irregularly thrown
medallions of various designs. Old Japanese. 718.
Tea-Pot, with perforated handle. Hizen earthenware; orna-
mented with flowers, a bird, and crabs; the pite is very deli-
cate. Japanese. 719.
Tea-por. Hizen earthenware; with curious crumpled handle
and decoration of landscapes. Japanese. 720.
The delicacy and finish of this beautiful specimen of porcelain are
noteworthy ; it is of a kind not often to be met with.
Tra-pot. Hizen earthenware ; decorated with foliage, to which
are added some lines of gold, and aninscription. Japanese.
72).
Tra-pot. Hizen earthenware; with clouded blue flowers on a
highly glazed ground. Japanese. 722.
Tea-pots, a pair. Hizen earthenware; the design is elegant,
,and one rarely met with amongst the Japanese; the ho-ho
(phoenix) is shown on a raised medallion on either side, which
is surrounded by a kind of “glory”; on the bases are simple
medallions ; a pendent fringe droops from the lips, and the
lids are surmounted by a delicate open-work ornament; the
spouts and handles are gracefully curved. Japanese.
723, 724.
Fisn Bowr. Hizen earthenware; in the form of a junk ; on the
outside, the upper edge has a band of diaper-work, and the
lower part is painted to represent waves; the ground of the
inside has a céladon tinge, and on it are thrown medallions and
seroll-work in dark blue and white, the medallions overlapping
the outer edge. Old Japanese. 725,
“dl
i
HIZEN WARE, BLUE AND WHITE. 59
Bown. Hizen earthenware; the inside of this rare specimen is
thickly powdered with blossoms in blue on a white ground ;
the outer surface is of cloisonné, the design being medailions,
hares, &c. in colour and white, on a turquoise ground spotted
with black. Old Japanese. 726.
CovEerED Bow ts, a pair. Hizen earthenware; with small me-
dallions of landscapes on a ground work of broken diapering.
Old Japanese. 727, 728.
Coverep Bow. Hizen earthenware; entirely covered by a
scroll-work of foliage in blue of different shades. Japanese.
729,
This piece is of exquisite finish in pate and design.
Cours, a pair. Hizen earthenware ; with sprays of flowers on one
side. Japanese. 730, 731.
Cups, a pair. Hizen earthenware ; with sprays of flowers on one
side. Japanese. 732, 733.
Cup. Hizen earthenware; with design of a conventional scroll-
work, with the kiku (chrysanthemum) flower irregularly placed
at intervals; a bordering of diaper-work is at the top, and
another of scroll-work at the bottom.. Japanese. 734.
Cur. Hizen earthenware ; on one side the edge projects, and
forms the shape of Fusi-yama ; a figure on horseback, with an
attendant, is depicted at the base of the mountain. Japanese.
735,
Bowt. Hizen earthenware ; with four projecting square-tipped
corners; the ground is white, and dispersed over the surface
are fish and leaves in blue and gold; in the. bottom is a circle
surrounded by coral in blue, and a similar circle surrounds the
outer base. Old Japanese. 736.
Bowt, with perforated cover. Hizen earthenware; the pattern in
blue on the lid carries out the perforated design ; the lower
part is powdered with various crests in medallions. Japanese.
737.
Cur, beaker-shaped. Hizen earthenware. Japanese. 738.
Tra Por. Hizen earthenware; with handle and spout; covered
with fir-cone diapering. Old Japanese. 739.
Cups and Saucers, a pair. Hizen earthenware ; with deep blue
upright sprays of flowers, in compartments, divided by double
lines; the pte is pure and delicate. Japanese. 740, 741.
Covrerep Cups and Saucers, a pair. Hizen egg-shell porcelain ;
with iris flowers and butterflies carelessly thrown on. Japa-
nese. 742, 743.
Coverep Cur and Saucer. Hizen egg-shell porcelain; with
erotesque figures of children, and butterflies. Japanese. 744.
60 . | - JAPANESE ART.
Coverep Curs and SAUCERS, a pair. Plain white Hizen egg-
shell porcelain. Japanese. 745, 746.
Coverep Curs and Saucers, a pair. Hizen earthenware; with
outlines of flowers in blue. Japanese. | 747, 748.
Cups, three. Hizen earthenware; with fret-work bordering
inside, and various designs. Japanese. 749 to 751.
Cur, shallow. Hizen earthenware; with a border resembling
_ pieces of string tied loosely together ; in the centre are shown
a sailing boat and Fusiyama in the distauce, Japanese. 752.
Cup, shallow. Hizen earthenware ; with a border of overlapping
design ; in the centre are a bridge and Fusiyama. Japanese.
753.
CoverED Bowr. Hizen earthenware; a child’s toy. Japa-
y ip
NESE. 754.
Cur. Hizen earthenware ; painted with a landscape with water
and junks in blue and gold on white ground, and a rim of gold.
Japanese. 755.
Cur. Hizen earthenware; painted with an iris and bird in blue
and gold on white ground, and line of gold on the rim. Japa-
nese. . 756.
Curs, three. Hizen earthenware; in the centres are charm-
characters in gold, surrounded by fret-work patterns in blue and
broad blue bands on which is traced seroll-work in white, and
gold rim ; the ground is white. Japanese. 757-759,
Cups, a pair. Hizen earthenware; with plants and inscriptions in’
blue and gold on the insides, and ornamentation of gold on the
rims. Japanese. 760, 761.
Curs, three. Hizen earthenware ; white ground, edged with gold,
and with flowers and inscriptions in blue, white, and gold. Japa-
nese. 762-764.
Curs, a pair. Hizen earthenware; with leaves in deep blue,
dragon flies in gold, and characters in red; the rims are blue.
Japanese. 765, 766.
Figure of a “shaké” or salmon. Hizen earthenware. Jupa-
nese. : 767.
Grovur. Hizen earthenware; lily-leaves and berries. Old
Japanese. i 768,
GroresQue Ficure. Hizén earthenware. Japanese. 769.
Mepicine Box. Hizen earthenware; a toy. Japanese. 770.
Nest of Square Pors, anda small brick. Hizen earthenware.
Japanese, be 771.
Per 9.
HIZEN WARE, BLUE AND WHITE. ~ 61
TABLE Lake, hexagonal, raised on three feet. Hizen earthen-
ware ; white, decorated with peonies, and a broken diaper
pattern in blue. Japanese. 772.
TaBLE LAKE, oblong, raised on four feet. Hizen earthenware ;
white, painted on the top in blue with dragons and emblems ;
the sides are perforated with a diaper pattern, derived from the
symbol meaning “Creator.” Japanese. 773.
Disues, a pair. Hizen porcelain; with pine, flowering-cherry,
and bamboo trees in blue on white ground. Japanese.
ad My ets
Hizen WARE, COLOURED.
Bown, round. Hizen ware. The main subject of this fine
specimen is Yebisw, the Fisher-God of Japan, calling to him
two fish which are shown in relief; the rest of the surface is
filled with a landscape, in which medallions of coloured diaper-
ing are mingled with fir branches and clouds ; an irregular net-
work in gold is laid over that part of the blue which represents
the sea; on the inside of the lip is a pattern of broken fret, and
on the interior of the bowl are depicted a salmon and branches
of sea-weed. Old Japanese. h7 716.
Frower-pot. Modern Nagasaki ware. Japanese. Tie),
Bow1, round, and slightly compressed in the centre. Hizen ware ;
at the base, between two red lines, are two dragons in blue,
red, and gold ; above is a landscape continued round the bowl,
in which are to be seen temples, shrines, and boats, in various
colours of remarkable delicacy ; a long inscription in blue is on
one side. A rare aud beautiful specimen. Old Japanese. 778.
Vase, gourd-shape, with shell handles. Hizen ware ; round the
lower bulb is a design in colours of flowers, leaves, and scroll-
work; round the neck are shells and sea-weed, and drooping
from the rim, which has a red line round it, is a graceful design
of water-plants, The ground is cream coloured, Old Japanese.
19.
Vase, long-necked, with a bulbous-shaped mouth, and circular
handles. Hizen ware; the ground is of a creamy tint, and on
it flowers and birds are roughly painted in bright colours.
Japanese. : 780.
Bowt and Cover. Hizen ware; round the base and rim of the
bowl is a design in blue, and round the sides are three square
medallions of landscapes in bright colours, divided by floral
medallions on a red diapered ground; the inner rim has a
bordering of blue, and some branches of the same colour are on
the bottom ; the cover matches in every way. Japanese. 781.
Bow. Hizen ware ; the outside has a ground of unpolished deep
coral red, on which are depicted fish in their natural colours,
§2 : - JAPANESE ART.
shells, sea-weed, and waves, in vivid green ; the inside is white,
with a medallion in the centre of fish and sea-weeds, in blue.
“A very uncommon specimen. Old Japanese. 782.
Bow. and Cover. Hizen ware; round the base isa bordering
of fret pattern; the ground work of the bowl is white, almost
entirely covered by butan (peonies) and mumé (plum) flowers
and leaves in colours, the flowers being accentuated by a raised
work of white. Japanese. 733.
Curs and Savcurs, a pair. Hizen ware ; with designs of butans
(peonies) and other flowers and leaves ; the insides decorated
by scallop-shaped borderings, from which droop fringes. Japa-
nese. hieae 784, 785.
Tatu Cups and Saucers, two. Hizen ware; the outsides covered
with split rattan-work; the ground of the porcelain is white,
cups and saucers having rims of bright colours, and designs of
flowers and birds in bright and delicate colours. Japanese.
786, 787.
Coverep Cup and Saucer. Hizen ware; the outside covered
with split rattan-work, and the inside with fan-shaped medallions
of landscapes, birds, and flowers, in colours, on a white ground.
Japanese. 788.
“Saucer. Hizen ware; covered with split rattan-work; the
inside has a rim of blue and gold, and in the centre is a land-
scape, with a female figure holding an umbrella in the foreground.
Japanese. 789.
Cur. Hizen ware; the outside covered with split raitan-work,
and inside a courtier in full costume. Japanese. 790.
Tati Coverep Cups and Saucers, three. Transparent egg-shell
Hizen porcelain; the ground is white, painted with warriors in
full armour, whence the name “ warrior” porcelain. Japa-
nese. 791 to 798.
Coverep Cups and Saucers, a pair. Egg-shell Hizen porcelain ;
the design is of landscapes in coral-red on a white ground, the
trees being also in raised work of white. Japanese.
794, 795.
Coverep Cup and Saucer. LEgg-shell Hizen porcelain, with
floral scroll-work in delicate gold on white ground. Japa-
NESE. 796.
CovereD Cups, a pair. Hizen ware ; round the outside of each
are three medallions containing conventionally treated chrysan-
themum flowers on a green ground dusted with black; these
medallions are connected by other conventional flowers, all in
bright colours ; on the top is a slight fret pattern, inside are
mushrooms in blue and gold on a white ground; the lids have a
crest or character in the centre. Old Japanese. 797, 798.
_—"
—
0 eS oe
HIZEN WARE, COLOURED, 63
Curs, two. -Hizen ware; each has a white ground with a blue
and gold rim, and lines of blue on the base ; one has medallions
of flowers in exqtisite colours on the sides, connected by a
lozenge-shaped crest, also in_colours, and two ho-hos (phe-
nixes) in gold; the other has two medallions in colours on the
sides, connected by a gourd-shaped pattern in gold. Japa-
nese. 799, 800.
Cups, a pair. Hizen ware, on a white ground are maple leaves in
blue, red, and gold, and lines of gold are round the rims.
Japanese. 801, 802.
Bow ts, shallow, a pair. Hizen ware of soft white pate, with
maple branches in blue, red, and gold, inside and out. Japa-
nese. 8038, 804.
Sranps for 'Tra-Curs, a pair, hollow and of tripod shape. Hizen
ware; on a white ground are scattered blossoms of the mumé
(plum) in blue, red, and gold. Old Japanese. 805, 806.
Tza-pot. White Hizen ware, with scattered blossoms in blue,
red, and gold. Japanese. 807.
IncENsE Burner, on four legs, the handles and the dog on the
cover being gilded to represent metal. Hizen ware ; at the sides
are medallions of flowers and figures in bright colours on a
white ground, which are bordered by a gilt scroll-work on
dark blue ground, the same bordering is round the rim, and a
similar scroll-work is continued on the legs; the lid matches.
Old Japanese. 808.
Mepicinge or SWEETMEAT Box, in three tiers. Hizen ware; on
a green scroll-work ground are chrysanthemum flowers in
blue, red, and white. Japanese. 809.
CoverED Por. Hizen delft ware; on a rough, unglazed, un-
coloured ground, are chrysanthemum flowers and scroll-work
in bright glazed colours. Japanese. 810.
Lip of an Incest Burner. Hizen ware; a delicate trellis-work of
gold, on which are cherry flowers in their natural colours, with
handle which is a Roar ese HOR of a cherry flower. Old
Japanese. 811.
Bow1, with scalloped edge. Hizen ware; the outside is painted
in red and gold to imitate lacquer; inside the porcelain has a
bluish tinge, and a medallion of blue flowers is at the bottom.
Old Japanese. 812.
Hizen Ware, CELADON. ©
VASES, a pair, with long necks, each having on one side a con-
ventional lion’s head, with a ring in its mouth. Hizen ware ;
the ground is a delicate céladon, on which are mistily depicted
in blue, branches of the butan (peony), the flower having the
64 az JAPANESE ART.
addition of a few red lines, the tops of the necks have a fringe
like ornamentation. Old Japanese. 818, 814-
FLower-por, round, raised on three feet. Hizen ware; the
lower portion is white, with blue medallions ; the upper part is
céladon, with butan flowers and conventional lions in relief,
on the lip are leaves also raised. Japanese. 815.
Vasr, long-necked, with rings hanging from elephant-headed
handles. Hizen ware; it is entirely of céladon, crackled, and
has a medallion with a Japanese character in the centre of each
side, surrounded by very graceful scroll-work. Old Japanese.
816.
Cur. Hizen ware; the outside is céladon, and the inside has a
design of dutan flowers in deep blue on a white ground. Japa-
nese. 817.
Lantern. Hizen céladon ware. This delicate example of this
ware is hexagonal, and raised on six pointed feet ; the sides are
perforated in honey-comb and floral patterns, the top is
decorated with raised work representing clouds, and the pro-
jecting edge turns upwards; the whole is surmounted by a
sacred ball. Old Japanese. 818.
Move of Fustyama. Hizen crackled céladon ware. Japanese.
. 819.
Disu, coloured. Hizen ware. Inthe centre of this large piece are
butan flowers in blue and black on a ground made up of dia-
perings in different colours ; a line of white encircles these, from
which spring upright bands of diaper work in colours, dividing
the rest into sections of conventional floral patterns in colours ;
this part has somewhat the appearance of cloisonné. The under
part is divided by upright bands of blue and white into sections,
in the centre of each of which is a conventional flower in blue
and red, a mark is at the bottom. .The whole is in imitation
of Chinese work. Old Japanese. ~ 820.
DisuEs, a pair. Hizen ware ; in the centre are flowers in red
and gold on a white ground, surrounded by a circle of the same
on a blue ground ; this is surrounded by fish and water-fowl in
colours on a white ground, the border being a floral scroll-
work in blue and gold; underneath is a floral scroll pattern in
blue and white, and a mark is at the bottom. Old Japanese.
821, 822.
OwaArt WARE.
FLower-pot. White Owari porcelain, with decoration in blue
of an upright fret pattern on the base, a dragon amongst clouds,
and three designs of scroll-work on the lip. Japanese. 823.
ee es ee
ne
- OWARI WARE. 65
Bow, with twisted cord-like handles. White Owari porcelain,
with decoration in blue of a cock sitting on the stem of the memé
- (plum) tree, and various plants on the side ; round the upper
edge is a fish-scale pattern associated with mwmé biossoms.
Japanese. 824.
Frower-por. Owari porcelain; with scroll-work and gro-
tesque figures in bright glazed colours; round the base is a
wavy pattern in blue, and a band of blue, on which are red
and green medallions, is under the lip; a fret pattern of gold,
with medallions of red and gold, is on the lip, and inside it is a
band of wavy design in blne. Japanese. 825.
FLoWER-pPot. Owari porcelain; the base has a band of blue
crossed diagonally with white lines, and edged with “ devil’s
teeth” ; above this are sections of floral designs in highly glazed
colours (some on a white ground, and some on arich red),
and medallions of dragons, cranes, and fret-work; below the
lip is a band of coloured scroll-work on a white ground ; the
lip has a green and blue pattern on a ground which resembles
in colour ‘ gris de merle,” and inside it is a band of ornament
in blue. Japanese. 826.
FLtower-por. Owari porcelain; the extreme base is of coral
red and white, and above it is an overlapping pattern of blue
on white; the ground of the body is white, with three white
elephants with trappings amidst a rich floral scroll-work of
vivid raised colours, highly glazed ; between the elephants are
medallions of conventionally treated flowers on a rich red
ground, and on and inside the lip are patterns in colours. This
is an exceptionally fine specimen, and is a good example of the
coloured ware of Owari. Old Japanese. 827.
FLoweEr-Pot, round, on three white feet of devil’s heads, Owari
porcelain; the lower part is formed into sections, both in shape
and design, and on the bowl-like top is a landscape; all the
decoration is of blue on a white ground. Old Japanese. 828.
Ficure of Jru-ro-st1y ( Oldest of aged men ”’) God of Good Luck
and Happiness. Light brown Owari earthenware. Japanese.
829.
Fruit Disu, in form of a gourd, the stem of which forms the
handles. Owari porcelain, painted with a landscape in delicate
bright colours on a white ground, and with border of blue and
gold scroll-work inside ; the handle is painted with leaves and
. fruit of the gourd-vine, and a leaf projects at one end. This
is an exceptional and graceful example. Old Japanese. 830.
Disu, with curved edges. Owari porcelain ; the ground is a rich
deep blue, and on it is wed a scroll pattern in gold; a
medallion of gold is in the atre, surrounded by gold lines, and
a trellis-work pattern in 1d terminates the design. Old
Japanese, 83l.
66 JAPANESE ART.
Vase, of cylindrical shape. Owari porcelain ; on a white ground
is painted in colours an illustration of the “ Pine-tree of a Taka-
sago.” (See No. 93). Old Japanese. 832.
VASE, upright and tall, with curved handles, from which depend
two crooked rings. Owari (?) earthenware, green and crackled.
Old Japanese. 833.
Vases, a pair, cylindrical. Owari (?) earthenware, green and
crackled. Japanese. 833a, 8330.
Borrie, with long neck. Owari porcelain; an upright fret
pattern in blue and white is at the base, and above it are over-
lapping medallions in bright colours on a white ground; on
the shoulder is a band of blue and white, from which rises an
ornamentation in red. Old Japanese. 834.
SorEEN for an Inx-stanp. Owari porcelain, with perforated
design of foliage in green, and a conventional lion in white and
gold. Old Japanese. 835.
Vass, straight shape, with handles. Light brown crackled Owari
ware; an upright pattern of green is round the base, and a
pendent pattern is round the mouth, ending on two sides with
a tassel. Old Japanese. 836.
Borrix, with long slender neck. White Owari porcelain, painted
in blue with a group of children engaged in cock-fighting. Old
Japanese. 837.
Incense BurNER. Owari porcelain ; in two parts, the lower of
which is perforated, and stands on three feet; it has green
lion’s head handles. The ground of the whole is white, and is
painted in raised colours with foliage, birds, and detached pieces
of diaper. Japanese. 838.
Bowt, with curved rim. Owari porcelain; ornamented with
irregularly placed sections of different diapers and scroll-work ;
the rim has a pattern, both inside and out, of white and gold on
ared ground; the inside is white, with a dragon in blue and
gold in the centre. Old Japanese. 839.
Coverrp Bown. Owari porcelain ; on a white ground of delicate
pate are painted in bright colours and gold, emblems of every-
thing most valued in Old Japan. Old Japanese. 840.
Bowt, with foot-like ornaments. Owari porcelain ; on a ground
of white with a bluish tinge is painted a pendent decoration in
blue, and a fret pattern. of blue is on the rim. Japanese.
. 841.
PastitLE Por. Owari porcelain; on a white ground are gro-
tesquely painted lions and trees in bright colours; the inside
is of unglazed brown, and the bottom of bright green. Old
Japanese. 842.
OWARI WARE. 67
Bow. “Dark brown unglazed Owari ware, slightly painted with
glazed colours; inside on a glazed white ground are painted a
crane and a tree in blue. Japanese. 843.
Tray, long and narrow. Owari porcelain; on a white ground
are painted waves and flowers in blue and red ; round the inside
edge is a bordering of cranes and clouds in colours, and on the
outside a design of waves and clouds in colours. Old Japanese.
844.
Tra-por. Owari porcelain; on a white ground are depicted
grotesque figures, and the lid, which has an inscription, is
surmounted by a grotesque elephant in gold. Japanese. 845.
Tra-pot. Owari porcelain; on a white ground, partly shaded
_ with blue, are flowers in raised colours and gold. Japanese.
846,
Mepictne Box. Owari porcelain; on a white ground are trees,
cranes, and clouds in black and gold, and figures of “ Dai
Koku,” and a group of children in relief. Old Japanese.
847.
Cover of a Por or Jar, fitted to a wooden stand. Owari porce-
lain ; on a green ground, dotted with black, are flowers in red and
gold. Old Japanese. 848.
- Grove. Owari porcelain; six children reading and playing.
Japanese. 849,
Saki Borries, a pair. Owari porcelain; painted in blue and
gold on a white ground ; on-one are pea fowl, peonies, &c., and
on the other, an illustration of the island of Taka-sago. Japa-
nese. 850, 851.
Saxt Bortizs, a pair. Owari porcelain; ona white ground are
painted fifteen different insects in colours. Japanese.
: 852, 853.
Saucers, a pair. Owari porcelain; on a white ground are
painted insects in colours. (These match Nos, 852, 853.)
Japanese. 854, 855.
Bowts, set of three. Owari porcelain; with landscapes in blue
and gold on a white ground. Japanese. 856 to 858.
Curs, set of three. Owari porcelain; on a white ground are fish
and nets in blue, red, and gold. Japanese. 859 to 861.
Saucers, a pair. Owari porcelain; on a white ground are figures
in colours. Japanese. 862, 863.
Saucers, a pair. Owari porcelain ; on a white ground are figures
in colours. Japanese. 864, 864.
Saucers, a pair. Owari porcelain; on a white ground are figures
in court costume in gold and colours, Japanese. 866, 867.
68 ‘JAPANESE ART.
Cups, set of three. Owari porcelain; with figures on a white
ground, clouded with gold. Japanese. 868 to 870.
Cups, a pair. Owari porcelain; with gold design on a white
ground. Japanese. 871, 872.
Cups, a pair. Owari porcelain; with flowers in raised colours on
a white ground; on the inside are mame blossoms in relief.
Japanese. 873, 874.
Cups, a pair. Owari porcelain ; with flowers in raised colours on
a white ground; on the inside are meme blossoms in relief.
Japanese. . 875, 876.
Saki Cups, set of three. Owari porcelain; with landscapes in
blue and gold on a white ground. Japanese. 877 to 879.
Cups, a pair. Owari porcelain; with design in silver on a white
ground. Japanese. 880, 881.
Ficures of Raperrs, a pair. Owari porcelain, Japanese. —
882, 883,
Figures of Ducks, a pair. Owari porcelain. Japanese.
884, 885.
Kioto WARE.
Vasr, tall and fluted. Kioto ware; on it are painted in bright
nich colours figures of men and children standing under and
near a flowering cherry tree ; the ground is of cream* colour,
finely crackled. Old Japanese. _ 886.
VASE, trumpet-mouthed, with handles. Kioto ware ; decorated
with delicately coloured flowers, painted on a creamy-crackled
ground ; on one side is a peacock; round the base and lip are
scalloped patterns in colours ; the handles, which on the outside
are painted green, have on the sides a scroll-work of red. Old
Japanese. . 887.
Vase, cylindrical in shape, raised on a stand with three feet.
Kioto ware; three examples of the hiku (chrysanthemum)
flower are painted in medallions of red and green on a white
ground; bands of green and gold are round the edge and stand;
below the latter depend three ornamentations. Old Japanese.
888.
FLOWER-POTS, a pair, hexagonal, narrowed at the base. Kioto
ware; ground of creamy colour ; on each side are portions un-
glazed, on which are sketched in colours different flowers and
trees. Old Japanese. 889, 890.
Bowt. Kioto ware ; white ground, with peonies in blue on
either side. Old Japanese. 891.
Caxe Box, in two tiers. Kioto ware. This curious specimen is
_perforated over the greater part of the surface with designs of
—— a
KIOTO WARE. 69
flowers and diapers ; the handle is of brown perforated earthen-
ware. Old Japanese. 892.
Coverep Bown. Kioto ware. On a creamy-crackled ground
are alternate stripes of blue, yellow, and green, on which are
zig-zag patterns in black; over these are laid irregular me-
dallions of gold scroll-work on a deep red ground ; inside the
bowl and cover are painted, on a white ground spotted with
red (as in Kaga ware), fir, bamboo, and sakura (flowering cherry)
trees and clouds; borders of diaper-work finish both. Old
Japanese. 893.
Tra-pot, Kioto ware. The ground is a rich creamy colour,
crackled; round the body is painted a continuous landscape, in
bright colours; on one side is a noble on horseback, with an
attendant, and on the other are two nobles fishing; round the
mouth are a mixed pattern of kikw-mon in colours and scroll-
work in gold. The mound-shaped lid is painted to carry out
this idea, with a continuation of the landscape, trees, &c. from
the sides. A graceful scroll in green and gold is on the spout
and handle; the painting is all raised. Old Japanese, 894,
Tra-pPor, with circular body. Kioto ware, dark grey crackled
ground. In the middle of either side is a sunk medallion, with
a cord-like bordering, and in the centre of these is a kiku-mon
in raised work, surrounded by an arabesque pattern in blue
and green, round which is a floral scroll of blue and yellow;
outside each medallion is an upright bordering, and one of the
same kind is round the neck; a pattern in blue and red is round
the extreme edge of the circle ; the spout and handle are covered
with a rich coloured diaper. Old Japanese. 895.
Tra-pot, with rope-like handle. Kioto ware. On a rich
creamy ground are grotesquely painted ho-hos (phcenixes) in
raised colours of lovely hue; on the lid are leaves, and on
the spout a scroll of green and gold. Japanese. 896.
Tra-pot. Kioto ware. On one side is a group of bright-coloured
flowers, on a creamy crackled ground, and on the other a spray
depending from the rim; on the rim and lid is a diaper pattern,
and the latter has the addition of flowers. Old Japanese.
. 897.
InceNSE Burner. Kioto ware. On a rock, over which grow a
plant and flowers, is crouching a monster, or conventional lion.
Old Japanese. 898.
This piece resembles Dresden ware in its manipulation and colour,
which is red, green, dnd gold, on a creamy ground.
VAsb, with small handles. Kioto ware. The ground is of cream
colour, crackled. Round the base is an upright fret pattern,
above which is a group of flowers; round the lip are flowers,
and from the neck hangs a fringe-like decoration of very graceful
character. Old Japanese. 899.
70 JAPANESE ART.
FLoweEr-Pot, on three feet of devils’ heads. Kioto ware. The
ground of this lovely piece is of a highly glazed and crackled
cream colour, and on it are painted in colours and gold shells
of many shapes, and sea-weed ; the lip is decorated with the
same, and the glaze and crackle of the inside are equal to the
exterior. Old Japanese. 900.
FLOWER-POT, on three feet of devils’ heads. Kioto ware. The
ground is of a dark cream crackled shade, and is painted
with a graceful design of grapes and vine-leaves trailed on
bamboo trellis, in colours and gold; three scroll patterns are
on the lip. Old Japanese. 901.
Ewer. Kioto ware. On a creamy, crackled ground, flowers and
birds are painted in colours, and on the lip and handle are con-
ventional patterns. Old Japanese. 902.
SwEETMEAT Box, in three tiers. Kioto ware. The outside is
lacquered in green, red, and gold, the medallions of each tier
being of different designs ; a five-clawed dragon is on the centre
of the lid. The inside is of a delicate green crackle (with
splashes of a darker green), on which are sketched grasses in
brown, also a wild goose inside the lid. Japanese. 903.
CANDLESTICK, with a double rim. Kioto ware. On a creamy,
crackled ground are painted flowers ; a conventional pattern is
at the base, and a pendent one on the lip. Old Japanese.
904.
Frower-pot. Kioto ware. On a creamy, crackled ground are
two groups of flowers in colours, and on the rim conventional
flowers. Japanese. 905.
Bow. Kioto ware. On a dark, creamy, crackled ground is
painted a beautiful landscape, with sea, cottages, &c., and inside
the lip is a pendent fringe pattern. Old Japanese. 906.
The way in which the glaze abruptly and whimsically terminates
leaving the rough faience, is noteworthy.
Bow. Kioto ware. The exterior decorations are bands of gold
seroll-work on red, and kiku-mons on black and green alter-
nately ; the inside is of a rich cream colour, crackled. Old
Japanese. 907.
Coverep Bow, square. Kioto ware. On a grey crackled
round are slight sketches in brown ; on one side is a heavy
splash of dark greenish grey. Old Japanese. | 908.
Bowt, in form of a lotus-flower. Kioto ware, light cream colour,
crackled. Japanese. : 909.
Bowt. Kioto ware. Ona rich drab crackled ground are painted
halves of medallions in gold. Old Japanese. 910.
PrateE, representing two leaves of the coir palm-tree. _Kioto
ware. The ground is of the most delicate cream colour, crackled,
KIOTO WARE. 71
On one leaf is a sprig of the dutan, and scattered blossoms of
the same flower, interspersed with gold dusting, and on the
other, fragments of diapering, also with gold dusting. Old
Japanese. . OTe.
Priate. Kioto ware. On a creamy, crackled ground are a dutan
and leaves in the centre, and a bordering of diaper pattern
a narrow round the edge. Japanese. 912.
Puate. Kioto ware. On a cream-coloured crackled ground is
a group of flowers and leaves, in colours, and round-the edge is
rim of pink. Japanese. 913.
PLATES, a pair. Kioto ware, of a creamy tint, crackled. On one
is painted a river scene, with boats, and on the other are
serpents and flowers. . Japanese. 914, 915.
Figure. Kioto ware. A man offering a wine gourd. Old
Japanese. 916.
FLOWER-POT, miniature, of oblong shape, on three feet. Kioto °
ware, painted with maple leaves in colours. Old Japanese.
oT.
FLOWER-PoT, miniature. Kioto ware. Japanese. 918.
FLOWER-POTS, miniature, a pair. Kioto ware. Japanese.
| 919, 920.
Prates, a pair. Kioto ware. On a dark creamy, crackled
ground are painted flowers and scroll-work. Japanese.
921, 922.
Cover. Kioto ware; painted with flowers on a dark creamy,
crackled ground. Old Japanese. 923.
Tra-pot. Kioto ware. On a ground of blue tinted white are
painted a landscape and an inscription in blue and gold. (A
choice and rare specimen.) Old Japanese. 924,
TNcENSE Burners, on three feet, two. Kioto ware; decorated with
flowers in colours and gold, and with conventional lions on the
perforated lids. Old Japanese. 925, 926.
PastiLLE Box, in three tiers. Kioto ware; with leaves and
flowers in green and red on a cream-coloured ground. Old
Japanese. 927.
Jar. Kioto ware. Ona creamy, crackled ground are painted in
colours, children playing under a pine tree ; a fringe pattern in
red hangs from the mouth, which is edged with black lacquer.
Tt has an ivory lid. Old Japanese. 928.
JAR, with lacquered lid. Kioto ware. On a creamy, crackled
ground are painted flowers and butterflies in colours. Old —
Japanese. | 929.
39016. F
72 Se ‘JAPANESE ART.
PASTILLE Por, on three feet. Kioto ware. ‘The outside is en-
tirely covered by an arabesque pattern of scroll-work and
flowers in green, red, blue, and gold. Old Japanese. 930.
Covrerep Por. Kioto ware; with pattern of flowers and scroll-
work in colours, on a creamy, crackled ground. Old Japanese.
‘<5 ho bs
CoverED Por. Kioto ware. Round the sides are floral-medal-
lions with a red ground; on the lid are three butterflies and
gold dusting. Old Japanese. 932.
Larce Perrume Burner. Kioto ware. Old Japanese. 933.
. The description of this piece is given by Messrs. Audsley and Bowes,
in their book “ The Keramic Art of Japan,” as follows :— :
“Large Perfume Burner, of Kioto ware, of light brown pate covered
with bright glaze, crackled.
“The shape of this fine piece, in all probability, was derived from an
ancient Chinese bronze, the curved and plotted handles being strictly
Chinese in character. The cover is perforated and surmounted with
the Japanese conventionalized lion, executed in partly glazed brown
ware.
“The circular portion of the cover, and the body of the vessel, are
decorated in the most refined and tasteful manner with severe
conventional. designs executed in blue, red, green, white, and gold.
The disposition of the ornamentation in the form of bands with
fringes, ‘is very happy in effect, and although reminding one of
ancient Egyptian art, is thoroughly Japanese in character. The
execution of the piece, and its decoration, are perfect throughout.”
Figure of demi-god. Kioto ware. Old Japanese. 934,
The description of this piece is given by Messrs. Audsley and. Bowes,
in their book “The Keramic Art of Japan,” as follows :—
“ Large figure of the ‘ Strong Man’ (Shoiki), with the Demon (Oni),
in Kioto faience. The treatment of the mythical subject is here
somewhat unusual, for Shoiki is generally depicted crushing the Oni
under a heavy bell or some other object. The figure in the present
instance is that of a warlike man.clad in elaborate ceremonial dress,
standing erect, and holding the demon with his left hand while the
right is about to raise a heavy sword to kill the monster.
“The expression of fierce resolve on the face of Shoiki, and that of
despair and agony marked on the countenance of the demon are
evidences of that skill for which the Japanese artists are justly cele-
brated. The whole composition is richly painted in coloured
enamels and gold, the outer garment’ of the warrior being covered
with medallions containing dragons, interspersed with clouds. Taken
altogether this is a remarkably fine specimen of Kioto modelling.”
Vase. Kioto ware. On a grey crackled ground is painted at
the base an upright ‘devils’ tooth” pattern, in many colours ;
above this wild flowers and grasses appear to be springing from
the ground, and amongst them are disporting themselves insects
and butterflies, copied from nature with great fidelity. A band
of diaper work in colours is round the mouth, and from this droops
a pendent floral pattern. Old Japanese. 935.
KaGaA WARE.
Coverep BowL, with foliated edges. Kaga ware. The outside
of this fine specimen is almost entirely covered by irregularly
PP ee ee ee ey
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‘
ey Cee) eS ee ae
KAGA WARE, 73
shaped medallions, which overlap each other, and which are
continuous on the lid and bowl, the ground where it is seen
being of a rich red covered with a gold scroll-work. The medal-
lions are of various subjects, landscapes, birds, flowers, &e., one
of which is notable as illustrating the story of Watanabé cutting
off the arm of the Onie or Ghoul, when sent by Raiko to exter-
minate dragons, demons, &c.; the subject of another is a woman
engaged in picking tea-leaves. ‘The handle imitates.a piece of
bamboo-stem in gold, to which is attached a green leaf. The
interiors of the bowl and lid have each a group of flowers and a
basket, in the richest and most varied colours; clouds, con-
ventionally treated, surround each bouquet, and the ledge of the
bowl has a fret pattern in dark blue and pale green. Old
Japanese. 936.
FLOWER-PorT, on three feet. Kaga ware, painted with diapers and
medallions of conventional flowers; a band of upright design is
round the base, another of scroll-work and flowers is under the
lip, and on it is a floral scroll-work ; inside is a scalloped pen-
dent pattern. Old Japanese. 937.
VASE, with grotesque handles. Kaga ware; the ground is of a
faint green tint; the base has an upright scalloped design ; on
either side, bordered with a red diaper pattern, is a medallion
of a peacock and butan flowers, some of the latter being in
relief ; a beautiful scroll pattern is between the medallions in
gold and colours. Round the shoulder is a wreath of hiri
leaves in colours and gold ; the neck is decorated by bands of
diaper-work, the mouth by a rich pendent pattern, and inside it
is another with fringe-like termination. The whole forms a
rare example of this ware. Old Japanese. 938.
Figure of a monster, or conventional lion, Kaga ware; the
body, which is white, is covered with spots of green, red, and
gold, the head, mane, tail, and paws are in brown. Old
Japanese. 939.
Raisep Bowr. Kagaware. ‘The foot is ornamented with scroll-
work and conventional patterns; the outside of the bowl is
painted with flowers, &c. in colours on a’ white ground, and
inside are two medallions, the subject of one being Yebisu the
Fisher-god of Japan; there are also several smaller medallions ;
the ground is of red with a scroll-work of gold, and a band
of fret pattern in blue on a white ground passes round the edge.
Old Japanese. 940.
Bow.. Kaga ware ; rich red and a i ona white gronnd. The'base
has an upright design, the upper part a landscape and. figures ;
inside are three medallions of figures, between which are > sthall
ones of monsters, and in the centre is one of a tiger and
dragon ; the ground has rich gold scroll-work and ho-hos
(phoenixes), on a red ground; a band, decorated with clouds and
ho-hos, appears to pass under the medallions. Old Japanese.
941.
F 2
74 = JAPANESE ART.
Bow. Kaga ware; rich red and gold on a white-ground. Out-
side are medallions of figures on a ground work of bands of
diapering ; bands of the same are inside, and a large centre
medallion of a philosopher seated ina landscape, powdered ; this
is in a manner peculiar to Kaga ware of this description ;
the medallion is eccentrically placed on one side. Old
Japanese. 942.
Bowts, two. Kaga ware. On the outsides are flowers and
leaves in colours on a white ground; on the inside of each are
three overlapping medallions of landscapes, a philosopher by the
sea-shore, and birds and flowers; parts of smaller medallions
are also seen, and the ground is of gold scroll-work on a deep
red ground. Old Japanese. 943, 944.
~ Bowt, shallow and raised. Kaga ware; decorated outside with
a scroll pattern in red on a white ground; inside is a ho-ho
(phoenix) in red and gold on a white ground in the centre, sur-
rounded by a band of conventional design, terminating with fret
pattern band on the edge. Old Japanese. 945.
CoverED Bown. Kaga ware; the base has a pattern of over-
lapping leaves in red on a white ground; the rest of the outside
has a ground of gold with three groups of flowers conventionally
treated, and powdered with irregularly shaped pieces of vivid
colours. Inside is a similar decoration, with a medallion in the
centre of a pheasant and leaves, in blue on a white ground.
Old Japanese. 946.
Vase. Kaga ware. On a ground of red, relieved by a diapering
of gold, are two medallions of flowers and birds in raised
colours on a white ground ; bands of floral scrolls in green and
red are at the base and shoulder; a design in gold on a red
ground is on the neck, and a green fret completes the ornamen-
tation. Old Japanese. 947.
Sant Borries, a pair, hexagonal in shape. Kaga ware; on a
white ground emblems and designs in red and gold are grace-
fully disposed in a fringe-like ornamentation, and the neck is
decorated by a gold scroll-work on a red ground. Old
Japanese. 948, 949,
Saki Borrirs, a pair. Kaga ware; on a white ground is a
diaper derived from the circular emblem signifying “Creator,”
in red and gold; the diaper is ingeniously adapted to the
decreasing size of the necks of the bottles. Old Japanese.
950, 951.
CovrerEeD Jar. Kaga ware; on medallions at either side are
Chinese figures in red and gold on a white ground ; the rest of
the surface is adorned with diaper, fret, and conventional
designs, and at the base is a pattern of upright leavés. Old
Japanese. 952.
Cur. Kaga ware ; the lower portion is in white, and above is a
design in gold ona rich red ground; a band of gold scroll-
work in red is inside the lip. Old Japanese. 958
te cotiu maga
-KAGA WARE. 75
Cur. Kaga ware; at the base is an upright leafy pattern in red,
white and gold; above, in the same colours, are medallions of
figures and emblems on a ground of gold diaper-work on red,
and a band of gold and red is inside the lip. Old Japanese.
955.
Curs, a pair. Kaga ware; in-red, gold, and white; an upright
leafy design is at the base ; above are Chinese figures on a
ground dotted with red spots, and inside the lip is a band of
diaper. Old Japanese. 955, 956.
Cur. Kaga ware; decorated with dragons and ancient Chinese
characters in red, white, and gold; the outside of the base has
diaper patterns ; the inside is also highly decorated, and has a
figure of Jin-ro-Jin (see No, 829) in the centre. Old Japa-
nese. 957.
Coverep Bow. Kaga ware. .The outside is of lacquer, the
ground being black, with a net, in which are caught various
fish, in gold; the net is ingeniously adapted to the shape of the
bowl; inside are medallions of many different subjects, in red,
white, and gold, on diapers of various designs. Japanese. 958.
TrA-pot. Kaga ware ; decorated in red, white, and gold with
Chinese figures on a dotted ground of white, with some scroll
and fret-work ; the lower portion of the tea-pot is unglazed.
Old Japanese. 959.
TrEA-pot. Kaga ware; on the sides are three medallions of
various shapes, one of figures, one’of flowers, and one of land-
scape, all in bright colours, the ground between being of gold
scroll-work on red; the lid has also a medallion of flowers,
irregularly placed; from the projecting centre of the tea-pot’s
side is a fringe-like ornamentation in red on a white ground.
The lower part is unglazed.. Old Japanese. 960.
Tea-por. Kaga ware ; dragons, clouds, and emblems are shown
on a white ground in red and gold. Old Japanese. 961.
PastTILLE Pot, square. Kaga ware; on either side is a medallion
in colours on white, the ground being of red and white pine-
branch diaper; a scroll in red is on the rim. Old Japanese.
962.
Disu, round. Kaga ware. A large medallion, on which are
depicted in colours and gold a group of the five great poets and
a poetess of Japan, is the principal feature of this grand speci-
men ; on this is carelessly thrown, as if by accident, another
medallion of flowers and trees ; parts of four smaller medallions
are also seen, and the rest of the ground is red, with a gold
seroll-work. On the under side are shown two ho-hos (pheoc-
nixes), and clouds in brillant colours ; the bottom is of green,
on which is a mark in red and gold. Old Japanese. 963.
Disu, round. Kaga ware. Ona large medallion covering nearly
the whole of the surface is a sea-side scene of girls picking up
16 JAPANESE ART.
shells; portions of four smaller medallions are shown; the
ground is of gold scroll-work on red: The under part has
large leaves and chrysanthemum flowers in colours ; the bottom
is green, with a mark in red and white. Old Japanese.
964.
Disu, round. Kaga ware, with ornament in pada and gold ona
white ground. ‘In the centre is a Chinese landscape and group, -
the eround being profusely dotted; round this are bands, of
different widths, of rich diaper, fret, ‘and scroll designs ; on the
under part is a scroll pattern of leaves, with medallions on
which are ancient Chinese characters, below which are bands
of fret and scroll-werk ; a mark is at the bottom. This is an
exceedingly rich specimen of this kind of Kaga ware. Old
Japanese. 965.
SATSUMA FATENCE.
FLOWER-PoT, round, raised on three feet representing devils”
heads. Satsuma ware; bands of diapering in colours encircle
the base and neck, a landscape is carried round the sides in
brilliant colours; on the lip are chrysanthemum flowers and
seroll-work, and the ground of the whole surface is of a creamy
white. Old Japanese. 966.
FLOWER-porT, round. Satsuma ware; a band of fret pattern in
green and yellow is round the base, and another of diapering in
bright colours below the lip; sprays of field flowers and grasses
are depicted on the sides with great taste, and on the lip are
flowers conventionally treated. Old Japanese. 967.
FLOWeER-PoT, round. Satsuma ware; it has a fret pattern round
the base, and one of diaper pattern under the lip ; dutans of
different shades and butterflies are shown on it in eolours, and
on the lip are flowers conventionally treated. Old Japanese.
968.
Fisu Bow1, round, on three feet. Satsuma ware ; inside are seen
gold fish and water-weeds, and on the outside is a band of floral
seroli-work, and the same pattern is on the feet. Old Japanese.
969.
FLOWER-PoT, round, on three feet. Satsuma ware; with
medallions and floral sprays in dark brown on the sides and lip.
Old Japanese. 970.
FLOWER-PoT, round, on three feet. Satsuma ware; a landscape
is roughly executed in brown, and a zig-zag pattern is on the
lip. Old Japanese. ofl:
Bowts, a pair, on three feet, one of the bowls having devils’
heads. Satsuma ware ; chrysanthemum flowers and foliage i in
bright colours decorate the sides, and a band of upright fret
pattern is round the neck. Old Japanese, 972, 973.
pace dail
tet Rha ea
ee a
_ SATSUMA FAIENCE. 78
Bowt1, on three feet. Satsuma ware; with conventinally treated
flowers in colours. Old Japanese. 974.
Bowt, on three feet. Satsuma ware; with decoration in red and
gold. Old Japanese. . 975.
Vase. Gourd-shaped, stoppered, and on a stand. Satsuma
ware; the gourd is tied round the middle with a thick rope
and tassel fastened i in a bow; on the base is a square patterned
band of colours ; many medallions of different shapes and sizes
ornament the surface, and in some of them are depicted philo-
sophers or poets with their pupils; in others are flowers and
birds ; interspersed with these are small medallions representing
sacred emblems; on the stopper is a group of the deities, over
which is a cover in the shape of the sacred ball. A fine example
of modern ware. Japanese. 976.
VAsr, with fixed ring handles. Satsuma ware; painted on the base
is a Vandyke pattern ; under the lip is a band of fret pattern,
with a fringe-like termination ; on the body is a landscape in
rich and varied colours. Old Japanese. 977.
VASE, with lion-head handles. Satsuma ware ; round the base is a
band of coloured diapering, and round the neck another of floral
scroll-work ; dutan flowers are boldly thrown on the sides.
Old Japanese. 978.
VASE, with lion-head handles. Satsuma ware ; a zig-zag ornamen-
tation is round the base, and a diapered band round the neck ;°
asters and wild flowers decorate each side. Old Japanese.
: 979.
CovERED JARS, a pair, of a pattern not commonly met with in
Satsuma faience ; these are, however, marked as such. Medal-
lions of various shapes overlay each other.on a ground work of
coral-red, which is covered with a gold scroll-work ; on the me-
dallions are finely depicted landscapes, flowers, birds, and figures ;
bands of diapering divided into sections, are on the shoulders
and sides of the covers, and on the top of the latter are birds
and flowers. Old Japanese. 980, 981.
IncENSE BuRNER, in two parts. Satsuma ware; the lower part is
raised on three feet of devils’ heads, and each part has a pair
of elephant-headed handles; the sides, neck, and lid are per-
forated. On a ground work of a rich creamy shade are grace
fully painted dwtan and wisteria flowers; bands of diapering
complete the ornamentation. Old Japanese. 982.
IncENSE BURNER, in two parts. Satsuma ware; the lower part
is raised on three feet of devils’ heads, and each part has a pair
of elephant-headed handles; the sides, neck, and lid are per-
forated. Decorated with a wild vine hanging from the branch
of a fir-tree; the bands are of dutan flowers and butterflies.
Old Japanese. 983.
78 JAPANESE ART.
Coverep JAR. Satsuma ware; a creamy white ground, crossed
diagonally by bands of coloured diapering, on which are
portions of medallions ; on the mouth. is a slight fret pattern in
red; the lid matches, and has in the centre a medallion in
gold. Old Japanese. 984,
Figure of a Monster, or conveitional lion. Satsuma ware; a
creamy tinted ground, on which are spots in gold; the tail,
mane, &c. are of brown, the tongue of red. Old Japanese.
985.
Incense Burner, hexagonal shape, on six feet, with two handles,
and metallid. Satsuma ware. The delicate painting of this
example is note-worthy ; on each of the six sides is a different
flower or tree of the most favourite kinds in Japan, on a rich
creamy ground; each group is surrounded by a line of gold;
a scroll-work of gold ornaments the base and feet, a green leaf
being in the centre of each foot. Above the flower groups is
a scroll-work “of gold, green, and red, and a band of green,
dusted with gold, is below the metal lip. Old Japanese. 986.
Txa-por. Satsuma ware; the body is in the shape of a lotus-
flower of a creamy tint; the spout is that of a curled lotus-leaf
of green; the handle represents the stalk, also of green ; the
lid imitates the seed-vessel of the lotus-plant in green, spotted
with gold ; a crab is in the centre of a lid. Old Japanese. 987.
Tra-por. Satsuma ware ; in the shape of a fabulous tortoise, the
tail of which turns over and forms the handle, the head being
the spout, both of green; the hexagonal division of the tortoise’s
shell are marked in green, and in the centre of each are shown
* the Holy Emblems in red, green, and gold... Old Japanese.
988.
TEA-POT, in form of a pumpkin. Satsuma ware; the beautiful
decoration of this example is designed from the pumpkin plant,
in red, green, and gold, on a creamy ground, some of the fruit
and leaves being executed in relief; the twisted stem of the
plant forms the handle. Old Japanese. 989.
Tga-pot. Satsuma ware; the spout and handle represent a
dragon’s head and tail in green and gold ; the decoration of
the body is divided by bands of green and gold, the lower portion
having diagonal bands of coloured diaper; the upper, groups of.
flowers ; above these are a scroll-work and band in green and
gold, and above that again is a pendent pattern in green and
red, Old Japanese. 990.
TrA-ror, on three feet, and having a cane handle. Satsuma
ware ; a group of chrysanthemums and other flowers in gold
and colours is on either side ; above is a band of diapering, and
another of the same is round the lid, with a spray of flowers
in the centre; coloured scroll-work is on the base of the spout.
Old Japanese. 991.
i
SATSUMA FAIENCE. oe
Tea-pot. Satsuma ware; the base is ornamented by a kind -
of scroll-work in green, and on either side is a group of flowers
in colours and gold; round the top is a pendent pattern, and on
the lid is a fish-scale diaper. . Old Japanese. 992.
Tra-pot. Satsuma ware; on either side are painted flowers in
colours and gold, and the lid is painted with the same. Old
Japanese. 993.
Bortie. Satsuma ware ; decorated with conventional designs in
red, green, and gold, with the addition of fringe-like lines
drooping from them. Old Japanese. 994.
Houper ror InceNsE Sticks. Satsuma ware; round the base
is a band of diapering, on either side of which is a scroll-work ;
conventionally treated flowers, &c. are on the straight part of
the holder. Old Japanese. 995.
Vast, for a small spray of flowers. Satsuma ware; the sides are
painted with flowers in different colours and gold; round the
base and neck are decorations of a conventional character. Old
Japanese. 996.
Vase. Satsuma ware; in the shape of a bamboo stem, a bud
being represented in relief at the side; on-a delicate green
ground are beautifully painted flowers, with here and there a
butterfly. Old Japanese. 997.
Water Hoiper, in shape of a tailed tortoise. Satsuma ware.
Old Japanese. 998.
Bow. Satsuma ware; with upright divisions of diapering of
green and red alternately ; above are painted boats filled with
flowers; the rim has a pendent fringe pattern of colours and
gold. Old Japanese. $99.
Bow. Satsuma faience, slightly glazed ; painted with a scroll-
work of green, with red flowers ; round the narrowed mouth is
a band of zig-zag pattern. Old Japanese. 1000.
Bow. Satsuma ware ; painted in colours in a conventional
manner ; inside the edge is a graceful pendent ornament. Old
Japanese. 1001.
PASTILLE Pot, on three feet. Satsuma ware; on a soft grey
ground is painted a graceful spray of flowers in colours and
gold. Old Japanese. 1002.
SHALLOW Bowt, hexagonal, on three feet. Satsuma ware ; on
each of the six sides is beautifully painted a different spray of
flowers; at the rim are chrysanthemum flowers and leaves.
Old Japanese. 1008.
FLower-por. Satsuma ware; the decoration appears to be
upright sections of different patterns dividing each other irre-
gularly ; the columns are bright, and coarsely painted. Japa-
nese. 1004.
80 ; JAPANESE ART,
‘ FLower-pors, set of three. Satsuma ware; the design, which
covers nearly the whole surface of each, is of conventional butans
(peonies), and a floral scroll-work in red and green; there is
also a scroll in culours on the rim. Old Japanese.
1005 to 1007.
Ser of Six Articies for a Housenotp Supine. Satsuma ware.
Consisting of a figure of Buddha, sitting in contemplation,
tea-pot, vase, incense burner, cup, and stand. ‘The Buddha is
in creamy white and gold, the rock on which he is sitting
having the addition of some green; the other objects are
painted with the utmost grace and delicacy in colours and gold.
Old Japanese. 1008.
Figure of a Monster or Lion. Satsuma ware; the figure is
green, the mane, &c. being marked in brown, Old Japanese.
1009,
INCENSE BurNeER, raised on three feet. Satsuma ware; round
the body are coloured groups of flowers ; the lid, which is per-
forated, has a dog in the centre, and some scroll-work in red ;
round the edge is a pendent pattern. Old Japanese. 1010.
Tries, six, of different shapes. Satsuma ware ; decorated with
floral scrolls in green and red. Japanese, 1011 to 1016.
VASE, with flower-shaped handles, on a pedestal. Satsuma ware ;
the body is decorated with circles of diaper, floral, and scroll
patterns, in colours and gold, divided by raised bands of a
delicate green; on the neck and shoulder is a design imitating
loose leaves, confined at the neck with a raised band, all being
in colours ; a fret pattern is under the lip, and on it is a slight
design in red; the pedestal is ornamented with designs of
diaper and fret, and over both it and the vase are placed at
regular intervals butan flowers and butterflies in relief. Old
Japanese. 1017.
FLoweEr-pot, raised on four feet, which are a curious combination
of devils’ heads and paws. Satsuma ware; eight sunk panels,
with smaller ones above, the larger painted with flowers in
colours, the smaller with a slight design in red; a scroll-work
in colours is round the lip. Old Japanese. 1018.
FLOWweER-ror, raised on three elegant feet of a leafy design.
Satsuma ware; a landscape is painted round the side, and scroll-
work designs, divided at regular distances, are on thelip. Old
Japanese. 1019.
JAR; large, and globular shape. Satsuma ware. Old Japanese.
é 1020.
This is described by Messrs, Audsley and Bowes, in their book, “The
Keramic Art of Japan,” as follows :—
“ Large globular-shaped jar of Satsuma faience, of vellum-tinted pate,
covered with a bright glaze, crackled. This is a fine specimen of
old ware, and in good preservation. The decoration consists of
bbn at. 'a.
AWATA. OR OONSHIN FAIENCE. 8] -
boldly drawn masses of bamboos, in green, grey, and gold, associ-
ated, in one instance, with a red mumé tree, emblems of youthful-
ness and long life. Between the masses of bamboos are figures
drawn in the style of art peculiar to the old specimens of the ware,
whilst birds are depicted flying amidst the bamboo foliage.
“The small cover is of modern manufacture, and simply consists of
a turned block of wood, covered with tortoise-shell decorated wit
lacquer.”
AWATA OR OonsHiIN FAIENCH.
Bow.. Awata or Oonshin ware ; the outside, on which are
_ clouds in black, is green ; the inside has a landscape in colours,
surrounded by a band of zig-zag pattern; above this is a band
in imitation of shark’s skin, on which are placed medallions
in blue, brown, and yellow. Old Japanese: 1021.
FLowsr-por, square, on four feet, and with projecting lip.
Awata or Oonshin ware ; ou a ground of rich cream colour are
painted figures, rocks, and bamboos in green, blue, and red; a
fret pattern in green is on the edge, and on the lip is a floral
seroll-work in colours. Old Japanese. 1022.
TsA-pot, of raised shape, with a cane handle. Awata or Oonshin
ware; on the upper part and lid are depicted shells and sea-
weed in colours; the ground is a deep yellow. Japanese.
1023.
TEA-Por, with a twisted handle, on three small feet. Awata or
Oonshin ware; on the lid are painted three butterflies, around
which is a rich scroll-work of flowers, &¢., allin colours on a
deep yellow ground. Japanese. 1024.
Saxi Bortir. Awata or Oonshin ware; a fret pattern in red. is
round the base; flowers and leaves surround the lower part in
raised colours on a deep yellow ground. Japanese. 1025.
The bottle is still filled with tea, as when presented to the owner.
Sani Borris. Awata or Oonshin ware ; on one side are painted
in raised colours sprigs of the sakura (flowering cherry) tree
and the crescent moon on a yellow ground. Japanese. 1026.
Raisep Bow ts, a pair. Awata or Oonshin ware ; on the outside
are landscapes, and inside, gold fish and water-weed in colours
on a yellow ground, Japanese. 1027, 1028,
CovERED Bow s, a pair. Awata or Oonshin ware: on thé sides
are painted landscapes and groups of flowers in colours on a
yellow ground. Japanese. 1029, 1030,
Cups, a pair. Awata or Oonshin ware; each painted on one side
in delicate colours, with a group of flowers on a yellow ground.
Japanese. 1031, 1082.
Cup, Awata or Oonshin ware; on one side are figures painted
with colours on a yellow ground. Japanese. 1033.
82 JAPANESE ART.
Cups, a pair. Awata or Oonshin ware ; with trees sketched on
a yellow ground in dark colours. Japanese. 1034, 1035.
Sranp for Tra-cur. Awata or,Oonshin ware; the upper part
slightly decorated with coloured flowers ; figures, Chinese in
character, are represented holding the upper part on their
shoulders. The ground is cream coloured. Old Japanese. 1036.
Saucer. Awata or Oonshin ware ; green-glazed ware, in imita-
tion of a basket. Japanese. 1037.
Banko WARE.
FLower-por, hexagonal, on three feet, with a projecting: lip.
Banko ware; sunk or engraved on a green ground, are conven-
tionally treated birds and butterflies, and fret-work bands. Old
Japanese. 1088.
Prate. Brown unglazed Banko earthenwate, with foliated edge ;
on the centre are depicted, in glazed colours, three figures near a
fir-tree, &c. Japanese. i089.
Bowr. Dark green glazed Banko ware; of a lighter colour
inside; a spray of white lilies is the only decoration. Japa-
nese. 1040.
CoverED Bowr. Brown unglazed Banko ware ; with flowers in
raised glazed colours on the lid, and inside the bowl, which is
slightly glazed. Japanese. 1041.
Vase. Light brown glazed Banko ware; on one side are painted
flowers in raised glazed colours. Japanese. 1042.
Saki Bortte. Brown unglazed Banko ware, very light in weight ;
it is ornamented with the stamps peculiar to this kind of Banko
ware. Japanese. 1043.
Tea-pot. Vellum-coloured unglazed Banko ware, representing
lotus-leaves. Japanese. 1044,
TreA-cups, a pair. Vellum-coloured unglazed Banko ware, repre-
senting lotus leaves. Japanese. 1045, 1046.
Tra-pot. Light brown unglazed Banko ware, of the same shape
as No. 1044. Painted in raised glazed colours with leaves of
the lotus-plant. Japanese. 1047.
Tea-curs, a pair. Light brown unglazed Banko ware, painted
in raised glazed colours with leaves of the lotus plant. Japa-
nese. 1048-1049.
Trea-pot. Brown unglazed Banko ware, with perforated handle
from which hangs a ring; painted with flying cranes in white
and colours, with pine branches in gold. Japanese, 1050.
a
BANKO WARE. 83
Tra-pot. Vellum-coloured unglazed’ Banko ware, the handle
perforated, and having a loose ring attached ; it is painted with
flowers in raised glazed colours, and stamped. Japanese.
1051.
Tra-pot. Brown unglazed Banko ware ; the handle is perforated
and has aring attached; painted with figures in raised glazed
colours. Japanese. 1052.
Tra-pot. Brown unglazed Banko ware; the lid and lip delicately
perforated; the only ornament is the Banko stamp. Japanese.
1053.
Tra-por. Brown unglazed Banko ware, looking like marble ;
perforated handle with ring attached ; stamped with the Banko
mark. Japanese. 1054.
CuarcoaL Stove, for boiling a small kettle. Banko ware, in
imitation of charcoal. Japanese. 1055.
Tortoise. Brown unglazed Banko ware. Japanese. 1056.
Tox1o WARE.
FrLoweEr-pot, on three feet. Tokio ware. This represents
bamboos in dark blue and white, roughly fastened together.
Japanese. 1057.
FLower-pot. Tokio ware; on a dark blue ground are peonies
and conventionalised lions highly raised in white. Japanese.
1058.
Fiower-pot. Tokio ware; ona dark blue ground are peonies
and conventional lions highiy raised in white; diapering on the
lip. Japanese. 1059.
Fiower-pot. Tokio ware ; on a dark blue ground are white
dragons and clouds in high relief. Japanese. 1060.
Fiower-pot. Tokio ware; on a blue ground are diagonal triple
bands, and highly raised dragons in white. Japanese. 1061.
Fiower-pot. ‘Tokio ware; the ground is white ; three bamboo
stems in green, with leaves of blue, divide the surface ; birds are
depicted between the stems. Japanese. 1062.
FLOWER-PotTs, a pair. Tokio ware; ona dark blue ground are
bamboo stems in white, between which are cranes, tortoises, &c.,
also in white. Japanese. 1063, 1064.
Frower-pot. Tokio ware; the dark blue ground is crossed with
double bands of white; between which are arranged open fans
and tassels. Japanese.
FLower-por. Tokio ware; on a blue ground are flying cranes
and pine trees in white, and on the top are leaves and scroll-
work in white. Japanese. 1066.
84 JAPANESE ART.
Frower-pot. Tokio ware; dark blue ground, with medallions
faintly pencilled in white. Japanese. 1067.
FLower-pot. Tokio ware; with cranes and tortoises in white on
a blue ground, between upright bamboo stems ; bamboo leaves
and water-lilies are on the lip and inside. - Japanese. 1068.
Frower-ror. Tokio ware; on a dark blue ground are medal-
lions of cranes, tortoises, and bamboos in white, on the top are’
leaves and flowers, Japanese. 1069.
FLower-pot. Tokio ware; with cranes and double diagonal
stripes of white on a blue ground. Japanese. 1070.
FrLower-Por, bowl-shaped, Tokio ware ; on a dark blue ground
are butans, &c. in white, in high relief. Japanese. 1071.
TaBie Lake, round. Tokio ware; with dutan flowers and scrolls
in white on a blue ground. Japanese. 1072.
FLower-pot, square. Tokio ware; with palm trees, bantam
fowls, and butterflies in white on a blue ground. Japanese.
| 1073.
FLower-por. Tokio ware; with cranes and pine branches in
white on a blue ground. Japanese. 1074.
Frower-pot. Tokio ware; on a dark blue ground are triple
_ upright bands, 6wéan flowers, and scroll-work in white. Japa-
nese. 1075.
Bow. Tokio ware; on a dark blue ground, representing the
sky, flying birds are depicted in white; the stand, which is
white, represents waves. Japanese. 1076.
Vase, in the shape of a purse. Tokio ware, blue and white; on
a stand, representing a cart, in white. A favourite subject
with the Japanese. Japanese. , 1077.
Bucket, oblong. Tokio ware, blue and white. Japanese,
1078.
Bizen Warez.
Bortite. Dark brown glazed Bizen ware ; in imitation of a gourd
(“‘ Hio-tan ”) carried slung on the waist when travelling, for
holding saki, or wine; the leaves of the gourd vine are shown
gracefully placed round the stem handle. Old Japanese.
1079.
Water Hotper. Brown Bizen ware; part of it is in the shape of
_agourd. Old Japanese. 1080.
Nirsuxe or Toaere. Brown Bizen ware; in the shape of a
labourer’s basket, peopled by mice. Old Japanese. 1081.
BIZEN WARE. 85
Tartep Torroiss, Brown glazed Bizen ware. Representations
of this fabulous creature are introduced into. scenes in which
the Gods appear. Old Japanese. 1082.
Tortoise. Brown glazed Bizen ware. Old Japanese. 1083.
Warr FROM various LOCALITIES.
Tra-pot. Brown unglazed earthenware, the handle and spout
are jointed to resemble bamboo ; a dragon is on the lid. Old
Japanese. 1084.
Bow. Grey glazed crackled earthenware; on it are bands of a
bronze tint, with a scroll-work above; the rim, which is red, is
pressed in curiously. Old Japanese. 1085.
Bown. Grey earthenware, imitating shark’s skin, to further
which idea it is much twisted and distorted. Old Japanese.
1086.
DRESSES, SILKEN MATERIALS, AND EMBROIDERIES.
A. sufficient number of specimens under this heading are
shown to illustrate the skill of Japanese weavers, and
workers with the needle. Although their refined taste
rebels against anything but the quietest shades and tones
of colour in their every-day dress and household decora-
tions, they exhibit the most daring combinations of colours
in materials used on state occasions and at festivals, with-
out, however, sacrificing good taste; for let them be con-
trasted ever so violently, a perfect harmony of the whole is
always preserved. |
By the frequent study of these combinations, the eye
acquires an appreciation of them. No machinery ever yet
made can produce the silks and brocades turned out of the
native handlooms, and the embroidery (which is always the
work of tradesmen) has been rarely excelled in Europe.
Lapy’s Dress. Blue silk, embroidered in colours and gold ; lined
and wadded. Old Japanese. 1087.
Lapy’s Dress. Black figured silk, embroidered in colours and
gold; lined and wadded. Old Japanese. 1088.
Lapy’s Dress. White crépe, embroidered in colours and gold.
Old Japanese. 1059.
Over Dress. White silk, with pattern of flowers in violet and
gold; lined. Old Japanese. 1090.
Prizst’s Dress. Red and white silk of a rich quality, on which
are wisteria flowers and leaves in colours; lined. Old Japa-
NSE. 1091.
soe
e
86 ; JAPANESE ART.
Primst’s Dress. Orange gauze, on which are designs in gold.
Old Japanese. 1092.
Priest’s Stor. Patchwork and embroidery. Old Japanese.
1093.
OveR GARMENT. Brocade, with facings and crests of black and
gold embossed leather. Old Japanese. 1094.
Lapy’s “Oxi” or Sasu. Rich embroidery in colours and gold on
a black satin ground. Old Japanese. 1095.
Lapy’s “Ont” or SasH. Embroidery in colours on a black satin
- ground. Old Japanese. 1096.
Rotts of Brocapg, ten. Old Japanese. 1097 to 1106.
Brocane, piece of. Old Japanese. 1107.
CREPE, two rolls of. Japanese. 1108, 1109,
Crips, red, with white dots caused by each dot being tied up in
paper while the other part is dyed. Japanese. 1110.
A small piece of this is used to tie the hair of the “ Musmé,’ or
young girl, and shows with great effect on the jet-black hair of the
wearer.
Cripr, piece of white. Japanese. 1111.
Sirk Gauze, piece of. Japanese. 1112.
Gotp Tureap Brocape. Two samples. Used for making
pouches, &c. Japanese. 11138, 1114.
Brocave, sample of. Old Japanese. 1115.
Haneine Picture Scrotts, a pair. Embroidery on gauze ; on
one are pheasants and dutans, on the other cranes and sakura
flowers; the bordering of gauze is embroidered in various
designs with gold. Old Japanese. 1116, 1117.
Crirr, a square. Red, embroidered in colours and gold, with
the subject of the carp leaping a waterfall. (See No. 413.)
Old Japanese. 1118.
_ Critpr,a square. Red, embroidered in colours and gold with a
basket of flowers standing on a cart. Old Japanese. Bite
-Cripg, a square. Green and white, on which are embroidered
medallions of a tortoise and a crane. Old Japanese. 1120.
Screen. Dark blue ‘satin, with embroidery representing Jiu-ro-
Jin (God of long life and happiness), with a deer and a crane
at his feet. Old Japanese. 1121.
SCREENS, Books, AND PICTURES.
In this branch. of Art we still claim for the Japanese a
decided superiority over the Chinese, and a skill in depict-
i
SCREENS, BOOKS, AND PICTURES. = 87
ing landscape, flowers, birds, and animals, equal in many
respects to that of European artists. They are particularly. .
successful in catching the expression of birds and monkeys ;
and the facility with which they produce effects in
landscape, such as flights of wild fowl, by a few strokes
of the brush, is very remarkable. Nos. 1128, 136, 1139,
and 1159, should be noted as illustrating these qualities.
In caricature they also excel, and attention is called to
Nos. 1158 and 1159, which are burlesques of the reality
attempted to be represented by No, 1269. ~
SCREEN, in six folds, showing a view of the city of Osaka, the
Venice of Japan ; the view is broken up by dispersed masses
of clouds in gold, a favourite manner of relieving the monotony
of alarge picture. Old Japanese. ; 1122.
ScrEEN, in six folds. On one side are paintings of various birds
and flowers, on silk. Old Japanese. 1123.
ScrEEN, in eight folds, gilt on both sides; on one it is decorated
with minutely painted scenes from the lives of the Mikados ;
the edges of the screeu are ornamented with chased metal-work;
the fact of its having eight folds shows it to have belonged to a
member of the Imperial family, or to a prince. Old Japanese.
1124,
Screen, in six folds. On one side are painted on a white ground
bouquets of flowers in hanging baskets, and on the other are
flowers painted on a dark gilt ground. Old Japanese, 1125.
Screen. Ina frame of black lacquer are five slides, painted on
either side with figures and flowers; these can be changed from
time to time, making 10 different pictures. Old Japanese.
1126.
ScroLL Picture; painted with views of the most famous places
in Kioto. Old Japanese. 1127.
ScroLtt Prcrure ; painted in Indian ink with landscapes and the
favourite subject of a flight of wild geese across the moon. Old
Japanese. 1128,
The manner in which these drawings are executed is much admired
amongst the Japanese for its artistic simplicity ; it is called “ single-
stroke drawing,” and the subjects are produced by very few strokes
of the paint-brush.
‘Scrott Picture, Coloured drawings of. celebrated Japanese
poets, with extracts from their works, to learn which by heart
is a favourite occupation of young Japanese ladies. Old
Japanese. 1129.
Scrott Picrore. Illustrating the history of the last war expe-
dition of Ashi Kaga (one of the early Shoguns), into the
39016. : G
° 88 JAPANESE ART.
*.
province of Oshin; the description being in writing of the old
style. Old Japanese. . 1130.
Scrouy PicrurEs, set of five, illustrating different subjects. Old
Japanese. 1181 to 1135.
The subjects are as follows :—
113%, Japanese banners.
1132. Military weapons,
1133. Armour.
1134. Saddlery and horse-trappings.
1185. Horses, showing their different paces and action.
Book of Japanese poetry in ten different styles, with illustrations
by an artist named Hakuzen, who was 78 years of age at the
time of their production. The paintings are on silk, and the
book is bound with silk broeade. Old Japanese. 11386.
The following are translatiotis of four of the verses, but it is impossible
to convey in another language the delicacy and poetry of the
ideas :—
1. “ The pine-trees growing about the mouth of this river are
so very ancient, let us inquire if any of the old emperors visited
this place.”
2. “J am thinking of a vessel sailing half-hidden in this hazy
morning, past an island on the coast of Akashi.”
3. “It is an autumn evening, and the mists are rising, although
the branches of the fir-trées are not yet diy after the shower.”
4, “Oh! House on the Pine-tree Island, we may come and visit
you again; do not let us find your roof spoilt by the waves
which break on the shore.”
Boox. A collection of portraits of Japanese actors. Old Japa-
nese. 11387.
Boor. Scenes from plays, in which some celebrated actors are
represented in their principal parts. Old Japanese. 1138.
Book. Sketches on silk, illustrating a journey from Kioto to
Yedo. Old Japanese. 1139.
History, in ten volumes, of the Island of Mia Sima, one of the
seven sacred places in Japan, and situated near Hirosima, in
the Inland Sea. Old Japanese. 1140.
The writer was one of a small party, the first Europeans that ever
stepped on the island, and well remembers the effeet of its beauty,
even on an eye which had become atcustomed fot several days to
some of the loveliest scenery in the world, the Inland Sea or
Suwonada. The island is somewhat conical in shape, and covered
down to the water’s edge by dense foliage; amidst this dark green
are to be seen silver threads, showing where the water-falls are
finding their way through the verdure. The Buddhist principle of
abstaining from killing any living thing is here carried out to the
utmost, éven to the extent of never cutting down a tree:
On landing, the visitor finds himself surrounded by deer, which
wander about the streets and houses of the little town unharmed,
and tame as dogs.
The principal feature of the island is a temple, or series of temples
connected by covered galleries, built in a shallow bay; and con-
sequently appearing to be in the sea. Another large temple of
massive construction is built on the Jand, close to the first, through
‘
=_— ” tA LA ha ile tel Rigas Bialtntit,
— To a :
~~
SCREENS, BOOKS, AND PICTURES. | 89
which are constantly passing herds of deer, and in the gigantic
beams of which live innumerable apes, all treated with great
respect.
Another name for this island is Utszkushii, or beautiful, and it is
believed to be the spot upon which descended the goddess from whom
the emperors of Japan trace their descent.
These volumes are covered with ordinary binding.
GuivE Boox of the Island of Mia Sima, Old Japanese. 1141.
Pockxer Note Boox. An ink bottle is ingeniously arranged to
open for use at any page, and a pen screws into the back of
the book. Japanese. 1142.
Map of the City of Kidto, very complete. Japanese. 1148.
Mar of the famous places in the Province of Setst.. Japa-
nese. 1144.
Guibe Map, for pilgrims to the mountain of Fusi-yama, with
the temples and stations marked; a drawing of Benten, the
guardian Goddess of the mountain, accompanies the map.
Japanese. 1145.
SPECIMEN of JAPANESE WRITING, being an official document con-
veying a grant of 500,000 hokus (a measure) of rice to a
Daimio, from the Shogun. Old Japanese. 1146.
SPECIMEN of JAPANESE WRITING. Japanese. 1147.
These ate very interesting papers, and are of great age, the latter being
worm-eaten. .
Writinc Paper, decorated, forty sheets. Japanese. 1148,
ENVELOPES, thirty samples of. Japanese. 1149.
HAnGine Picture Scroxt, on ivory rollers, and decorated with
silk and gold brocade: On this is depicted the character “jiu,”
meaning “long life,” and the illustrations contained in the out-
‘line of this character further the idea, as do also the different
birds, trees, &c. that are depicted. The upper part shows the
old double pine-tree.of the island of Taka-saga, called the
‘Pine of Mutual Old Age.” (See No. 93.) The lower part
shows amongst other subjects, the Gods Daikohu, Yebisu,
Jiu-ro-jin, and their respective emblems, also the Goddess
Benten viding on a dragon.. Old Japanese. 1150.
HANGING ProtuRE SCROLLS, a pair, on ivory rollers, and bordered
with brocade. One shows a group of figures, Chinese in
character, of a philosopher and his pupils, and the other a
Court. poetess playing on a guitar by the light of the moon.
Old Japanese. - 1151, 1162.
Haneine PicrurE Scrowis, a pair, on ivory rollers, and with
silk brocade. One shows a family of bantam fowls, and the
other butan flowers. Old Japanese. 1158, 1154.
HaAnGine ProrurEe Scroui, with lacquered rollers and brocade,
The subject is a picnic party gathering mushrooms. Old
Japanese. 1155,
a 2
40 as JAPANESE. ART.
HAnGiIne Picture SCROLL, on ivory rollers, with brocade. The
subject is a rocky landscape, with temples. Old Japanese.
1156,
Haneine Picrure Scroit, on silk, with ivory rollers. It depicts
a procession of grasshoppers, wasps, and other insects; they
curry a cage in which is a beetle; insects carry as insignia
various grasses and flowers, also cones and other things as
baggage ; a mantis beetle is ridden like a horse, and insects
walk in front to clear the way. The whole thing isa caricature
of the Daimios’ processions, even to the insects bowing at the
side of the road. Old Japanese. 1157.
Haneine Picrure Scroxt, on silk, with ivory rollers. It shows
a hanging basket of flowers gracefully arranged; beneath is a
stream with gold fish. Old Japanese. 1158.
Picture ON SILK, of three monkeys. Old Japanese, 1159.
This is a very superior example of the skill of the Japanese in por-
traying animals, in which subjects they are by no means successful,
however well they may represent birds and insects.
Court Fan, with pierced bamboo mountings. Clouded gold on
a plain ground. It has the appearance of being partially open,
although in reality closed, as it is contrary to court etiquette to
appear with a shut fan. Japanese. | 1160.
Lavy’s Fan, with pierced bamboo mounts. On one side is shown
a landscape in gold. Japanese. 1161].
Fan, gaudily painted. Used by dancing girls. Japanese. 1162.
Fan, used by dancing girls. Japanese. 1163,
GENTLEMAN’S Fan. Silk, with wooden mounts ; on one side is
painted Fusiyama. Japanese. 1164.
GENTLEMAN’S Fan. Silk, with bamboo mounts ; on one side is
painted a flight of birds. Japanese. 1165.
WrapPer. White silk, with drawings in Indian ink. For a
present. Old Japanese. 1166.
SxetrcHes or Acrors, set of twelve. Old Japanese. 1167.
MISCELLANEOUS.
Bau, crystal. On a wooden stand, carved to represent waves.
Japanese. 1168.
Batts, two crystal. Japanese. 1169, 1170.
Cup, fosilliferous limestone. Japanese. 1171.
Ratsep Cup, black marble. Japanese. 1172.
CovereD Port, variegated marble. _ Japanese. 1173.
+]
MISCELLANEOUS. . 91
INK-STAND, slate. Japanese. 1174.
InK-STONE, made of fossil wood. Old Japanese. 1175.
ToLper ror Incensy Sticks, slate. Japanese. 1176.
BASKET Work.
FLrowrer Howpers, a pair. Fine cane-work and wood. Japa-
nese. 1177, 1178.
BASKETS, a pair, brown. Japanese. 1179, 1180.
BASKETS, seven, various. Japanese. r 1181 to 1187.
Baskets, five, small. Japanese. 1188 to 1192.
Letter Box. Wood, lacquered inside with red, and covered with
cane-work. Japanese. 1198.
Watt Basket, for flowers. Black; in imitation of a beetle
Old Japanese. 1194.
Watt Basket, for flowers, brown. Japanese. 1195,
Mepicine Case and Gourp Tocare. In four compartments,
fitted into a frame of delicate cane-work, and is worthy of
notice for its marvellous workmanship. Old Japanese. 1196.
Tea Srrrrer. Cane, with a lacquered wooden handle; for
mixing the decoction of tea dust, drunk with much ceremony
on special occasions. Japanese. 1197.
_Coms, worn by matrons. Transparent amber tortoise-shell. Japa-
nese. 1198.
Hair Pry, worn by matrons. The ends are of transparent amber
tortoise-shell. Japanese. 1199.
Harr Pins. Transparent amber tortoise-shell. Japanese.
1200, 1201.
OrnAMENT for the Harr, representing the wisteria plant and
birds. Transparent amber tortoise-shell. Japanese. 1202.
Hair Pins, three. Ornamented metal. Japanese.
12038 to 1205.
Harr Pins, six. Bone. Japanese. 1206 to 1211.
Coms. ‘Tortoise-shell, lacquered in raised gold, and encrusted
with coral. Japanese. 1212.
Coms. Ivory, stained red, in a design of a landscape and figures.
Japanese. 1213.
Pocxer Boox. Striped velvet, with pliable metal clasp, and con-
taining various articles used by minstrel girls, to one of whom it
belonged. Japanese. 1214.
The contents are, a steel mirror, box for rouge, with brushes, tooth-
picks, spare guitar strings, case of five boxes for cosmetics or
2
92: JAPANESE ART.
medicine, case of tweezers, scissors, measure, &c., four other articles
of the toilet, and a small box for medicine, in three compart-
ments.
Box, covered with coloured crépe. On the lid is a grotesque
subject of cat, &e. Japanese. 1215.
Box, in shape of double shells, with shells laid on the edge, all of
coloured crépe. (Similar in design to No. 10.) Japanese,
1216.
Poucu. Crépe ; representing the face of an old man. Japa-
Nese. 1217.
This is hung on the back of a child on its name day.
Poucu, Crépe, coloured. For the same purpose as No, 1217.
Japanese. 1218.
CuHorstick AND ToorupicK CAsrs, two. Coloured crépe ; these
are carried in the folds of the dress or belt. Japanese.
1219, 1220.
Figure of a monkey, silk. Japanese. 1221.
Pirss, three. Bamboo stems, and metal bowls and mouth-pieces.
Japanese, 1222 to 1224.
Pier. Iron, damascened, gilt and silver. Japanese, 1225.
Pier. Brass stem, deeply engrayed. Japanese. 1226,
Pier, White metal, ornamented with maple-leaves. fangs.
Pipx. White metal, shaped to imitate a bamboo stem. Japa-
nese. 1228.
Rarwy UMBRELLA. Japanese. - 1229.
Sun UMBRELLA. Japanese. 1230,
BamBoo Sranp, for making tea. It has an earthenware brazier
and tea-kettle, a basket for holding the charcoal, three wooden
plates, a tea-pot, and five cups, on a metal tray. Japanese.
12381..
CanDLes, five, of vegetable wax, decorated. Japanese. 1282.
Dracon Mask. Japanese. 1238.
This and the following objects, to No. 1244, are presented to the
temples, ez voto.
Dracon Mask, with gilded horns, Old Japanese. 1234,
Horse And TRappines. Japanese. 1235.
In many of the larger temples are kept pure white or Albino horses,
which are considered sacred, and fed by offerings from worshippers.
Horst anp Traprines. White crépe. Japanese. 1236.
HorsE AND TRAPPINGS. Black yelvet. Japanese, 1237.
ee
BASKET WORK. ~
Horst AND WARRIOR. Japanese. 1288.
Woman carrying a tub, Japanese, 12389.
CouRTEZAN in full dress. Japanese. 1240,
Actor. Japanese. ’ 1241.
Dancing Girt. Japanese. 1242.
Actor. Japanese. 1243.
Woman. Japanese. 1244,
Bow and Arrows. The bow is constructed in four pieces, and
mounted in silver and ivory ; the beautifully made flat-tipped
arrows, 13 in number, are contained in a case. Old Japanese.
1245,
Swerrmxuat Box, in three tiers. White straw-work ; fitted into
a framework of the same. Japanese. 1246.
Swerrmeat Box, in two tiers. Variegated straw-work. Japa-
nese. ) 1247. .
Merman, manufactured from a fish’s tail and carved wood. Japa-
nese. 1248.
Mopets of Frurr, in paper. Japanese. 1249.
CotnecTion of BoranicaL SPECIMENS, 103 in number. They
consist of wild flowers and grasses, and are mounted on paper.
Japanese. 1250.
Korox or Harp. <A toy. Japanese. . 1251.
The following objects, to No. 1297, are also toys.
SAMISEN or GUITAR, with ivory striker. Japanese. 1252.
Koxtv or Vi0oL, with bow. Japanese. 1253.
Armour, a suit. In a trunk of black lacquer, with gilt edges.
Japanese. . 1254.
Doz, Dressed as a boy of the official class ; it has three wigs.
Japanese. 1255.
Dott. Dressed as a girl of the official class; it has two wigs.
Japanese, 1256.
Figure of a Student or Doctor, Japanese. 1257.
This and the following 11 figures, to No. 1268, give an excellent idea
of the dress and appearance of the Japanese as they were until
lately. :
Ficure of a Priest. Japanese. 1258.
Figure of a Blind Shampooer. Japanese. 1259.
Figure of a Samurai or soldier, Japanese. 1260.
Ficure of a Yakouin or officer. Japanese. 1261.
940 JAPANESE ART.
Frieurn of a wife of a Yakouin or officer. Japanese. 1262.
Figuru of a Shouin or merchant. Japanese. | 1263.
Ficure of a servant. Japanese. 1264.
Ficure of an Acrobat, or street conjurer. Japanese. 1265.
Ficures, three, of Women of the middle classes. Japanese.
1266 to 1268.
Procession of a Daimio, or noble; he is on horseback, surrounded
by retainers who clear the way, and carry insignia, banners, and
weapons. Japanese. 1269.
Monet of an open-air Restaurant, in which is a pleasure party
including a minstrel. Japanese. 1270.
Grour of earthenware figures, representing a pleasure party,
including a minstrel and a dancing girl, at a restaurant. Japa-
nese. 1271.
Mover of a Passage Boat for a harbour. Japanese. 1272.
BaTTLEDORES (two) and SHurrrucocks (six). Japanese.
1273 to 1275.
Masks, fourteen. Japanese. 1276 to 1289.
‘TEA-KETTLE. Japanese. 1290.
: Fievures of Brrps and Micg, seven. Japanese. 1291 to 1297.
Trays, a set of seven, containing 178 shells. The trays, which
are of black lacquer, are fastened together by a silk band, clasped
by a shell. Japanese. *- 1298.
Trays, a set of nine, forming a cabinet of fossils, flint implements,
Aino ornaments, and.some curiously shaped stones, whose re-
commendation in the eyes of the Japanese is their oddity. The
trays are of Soochow or red coral lacquer. 1299. There is
also an illustrated catalogue of the collection, bound in brocade.
Japanese. 1300.
The Ainos are the Aborigines of Yesso, the northern-most island of
Japan, and still exist in portions of it. This race is remarkably
distinct from the Japanese, who regard them with curiosity mixed
with contempt.
This collection was formed for, and was the property of, one of the
Daimios of Japan.
Borer and Kerrie. Solid silver, chased with a scroll design ;
the crest of the Prince -of Satsuma is repeated sixteen times on
the boiler, and nine times on the kettle. Old Japanese.
z 1301, 1302.
These form part of a travelling apparatus like that described in Nos. 43,
44; the boiler is used for heating saki, or wine.
COINS. 95
CoINs..
Much of ancient history is gathered from coins, and they
often form the only clue to events upon which historians,
drawing largely on their imaginations, give us whole chap-
ters. They are, certainly, often the most valuable records
we have of a nation’s progress in wealth and civilisation,
and, to a great extent, show also the progress made in
art.
In the case, however, of the Japanese, their coinage
is not an index of their artistic skill, for while their
workers in hardware were turning out exquisite studies in
metals and their alloys, the coinage of the country con-
tinued to be very primitive, but still of a quaint and
perfectly characteristic description. It forms an interesting
record of the gradual change which took place in the
comparative values of the precious metals amongst this
long secluded people, and shows how completely self-sup-
porting and self-dependent they were.
- The unit of value has always been the vivo, and in the
sixth year of Kei-chio (A.D. 1601) we find the Ko-ban or
one-riyo piece (No. 1318 in catalogue), weighing 11 dwts.
81 ors. troy. They went on decreasing in size, until the
last one (No. 1327 in catalogue), issued in A.D. 1862,
only weighed 2 dwts. 3 gers. troy. In like manner, the
oldest ten-riyo piece, or O-ban (No. 1318 in catalogue),
issued between A.D. 1570 and 1580, which is of the finest
gold, weighs 5 ozs. 16 dwts. 7 grs., while the latest issue
here represented (No. 1315 in catalogue), coined in A.D.
1746, weighs only 3 ozs. 12 dwts. 84 grs.
At the earlier dates, therefore, gold must either have
been very plentiful and silver very scarce, or else, owing to
the trade of the country being carried on by barter, there —
must have been little use for a precious metal currency,
and it did not, consequently, reach its proper level. As
illustrative of the former reasoning, we may refer to No.
1373, which was presented to the owner, among other coins,
by the native governor of the old mint in 1868, who
stated that it was extremely rare and old, and was coined
at a time when silver was scarcer and more precious than
gold. The words “O-ban” and “ Ko-ban” are derived
from “O,” great or large (a prefix used in compound
words), “Ko,” a participle prefixed to words to give them
a diminutive sense, and “ban,” a plate.
In very early times the gold was kept in plates, and
a ae
96 JAPANESE ART,
pieces of the value of one riyo or ten rivos (called respec-
tively Ko-ban and O-ban), «e., “small plates” and “large
plates,’ were cut off.
Round pieces in gold appear to have been rather excep-
tional, oval being the usual shape; no doubt, as with the
silver coinage, to facilitate packing. In silver and silyer-
gilt coins, oblong is the prevailing form, and they were
made in this shape for convenience in making into packages
of the value of 100 riyos. The Ita Kani or Ita Gin (an
alloy of silver and copper) was made in small ingots, vary-
ing in weight, and of different shapes, generally oval, but
often in the. form of Daikoku (the God of Good Luck and.
Prosperity).
The copper coinage is mostly in imitation of the Chinese,
a¢., round, with a square hole in the centre, for stringing it
up in hundreds, The Japanese name for the smallest de-
nomination is “ Sen,” or “Zéni,” derived from the Chinese
“ Dzén,” or “ Tehén,”
Large quantities of this Chinese currency used to be in
circulation in. Japan, and was at one time, no doubt, im-
ported by the Chinese settlers in Nagasaki, where they had
a trading guild ; but since the opening of the country to
general foreign trade, in 1859, and for a long time prior to
that date, the flow of copper coinage has been in an
opposite direction. The Chinese do not coin their gold and
silver, these metals being melted into ingots and passed by
weight for its strict metal value. In their coinage, as in
other ways we have pointed out, the Japanese appear to
have gone ahead of their big neighbours, and for several
centuries past have attempted to facilitate trade by making
gold and silver coins of a fixed value.
The coins in this ¢ollection, which were all made by
hand, are daily becoming more valuable and difficult to
procure, and will soon disappear entirely, except from the
cabinets of a few native collectors.
There: is now an Imperial Mint in Osaka, the trading
capital ; it was established in 1870, under foreign manage-
ment, but has since been put under native control. From
it is issued a beautiful new coinage of western shape and
design, of which a specimen set is exhibited.
The following are the relative values of the old coins :—
1 Oban - : 10 Ko-bans.
1 Go-riyo-ban - - 5 is
1 Ko-ban or Riyo - 4 Bus, or 60 Mommé,
Noll i
a ian ll a ea NDRS Mic tacaig Ty ag
COINS. 97
1 Mommé - - = _ 100 Sen or Zéni.
1 Nibu - » oe 2 Bus
1 Bu - - - = 2 Nishus, or 4 Ishus.
1 Nishu . - = 2 Ishus.
The Mommé is a measure of weight, which equals 58°33
grains troy.
Since the beginning of this century, iron coins were
made by the Shogun’s government, of which No. 1472 is an
example ; 600 of these were equal to an ishu, or 16th of a
riyo, and 9,600 to a riyo. In time they became mixed
with the copper Zéni, the two passing indiscriminately at
9,600 to the riyo, until the advent of foreigners in 1859,
when they rose in value to about 1,200 of copper zéni only
per riyo, at which rate it paid to export them to China.
In the 6th year of Tempo, about A.D. 1836, a new copper
coin (see No. 1461) was made, and called from the year
ie Tempo Leni,” also “ Hiaku- -mon,’ (100 cash) ; its value was
100 iron sen, or cash, 96 of which were worth one riyo.
Daimios were permitted to coin gold and silver, but. not
copper or iron ; they also made paper money in great quan-
tities, which, “however, was only current in their own
provinces.
We believe that numismatists will find ren an inter-
esting collection, although we cannot do more than briefly
describe some of the principal specimens within the limits
of a catalogue.
Works ON THE OLD COINAGE OF JAPAN.
Votumes (seven), entitled *« A History of Gold and Silver Coins,
with Illustrations,” by Kondo; published in the 7th year of
Bunka (A.D. 1809). Japanese. . 13038 to 1309.
be serie entitled “ Description of the Marks on Gold Coins,” by
Fu-ku-su-no-daté. Japanese. No date, 1310,
Vo.vume, on Bronze Coinage, entitled “ Patterns of Zéni,” by Kim-
mo; published in the 5th year of Kan-sei (A.D. 1793).
Japanese. 131].
Vorume, entitled ‘‘A Record of Curious and Uncommon Zéni,
with Illustrations,” by Omura ; published in the 14th year of
Bunka (A.D. 1816). Japanese. 1312.
The above works have been of great assistance in facilitating the
description of the following coins. Some of them were presented to
' the owner by his Excellency Wooyen Kagenori, the Japanese
Minister, and, like old books i in all countries, are becoming very rare.
98 JAPANESE ART,
Gop Corns.
OBAN, or ten-riyo piece. Oval in shape; date of issue, some time
between A.D. 1570 and 1580, within the period “'Ten sho.”
On the obverse, four impressions of the Imperial crest are on
the margin; the value (ten riyos) and the stamp of the Mint are
written on in Indian ink. Japanese. 1318.
Fees used to be charged by the duly appointed officers of the Imperial
Mint or Treasury, for certifying the value of these coins; it was
therefore to their terest to mark them so that the marks could easily
be obliterated, and the plan of writing the requisite signs in Indian
ink was adopted; in consequence the pieces were wrapped up singly
in silk wadding and paper, and the greatest care taken in handling
them to prevent the writing being defaced.
Oxan. Date of issue, 10th year of Kio-Ho (A.D. 1723). The
obverse is marked similarly to No. 1813; the reverse is also
similarly marked, but has the addition of three small stamps on
the lower left hand corner, made by the examiners of the Mint,
through whose hands it passed before issue. Japanese.
1314.
Oxans (two). Date of issue, 8rd year of Yenkio. (A.D. 1746).
Obverses and reverses are marked similarly to No. 1314.
Japanese. 1315, 13816.
Go-RIY0-BAN, or five-riyo piece. Oval; date of issue, 8th year of
Tempo (A.D. 1837). On the obverse are four impressions of
the Imperial crest, those at the ends being in fan-shaped com-
partments; the value and Mint seal are stamped, instead of
being written in Indian ink; on the reverse the name of the
year is in the upper right hand corner, and stamps of the
examiners are on the lower left. Japanese. 1317.
Ko-BAN, or one-riyo piece. Oval in shape; date of issue, 6th
year of Kei Chio (about A.D. 1601). On the obverse are two
impressions of the Imperial crest, fan-shaped ; above and below
are the value and the stamp of the Mint; on the reverse are
examiners’ marks in the lower left hand corner. Japanese.
1318.
The following specimens, to No. 1327, are marked in the same manner,
and are similar in shape.
Ko-Bans (two). Date of issue, 4th year of Sho-tok (A.D. 1711).
Japanese. 1319, 1320.
Ko-san.. Date of issue, Ist year of Gen Bun (A.D. 1736).
Japanese. 1321.
Ko-san. Date of issue, 2nd year of Bun Sei (A.D. 1819).
Japanese. : : 1322.
Ko-san. Date of issue, 2nd year of Bun Sei (A.D. 1819).
Japanese. 1323.
This coin is smaller than No. 1322, and the examiners’ marks are
different.
————
GOLD COINS. 99
Ko-Bans (two). Date of issue, 8th year of Tempo (A.D. 1837).
Japanese. 1324, 1325.
These two coins are alike in all but the examiners’ marks.
Ko-san. . Date of issue unknown, but within the last thirty years.
Japanese, 1326,
Ko-nan. The last issue of this denomination ; coined about 1862.
Japanese. 1327.
Nr-su or } riyo piece. Oblong in shape; date of issue, Ist year
of Bun Sei (A.D. 1818). On the obverse are two impressions
of the Imperial crest, one of them fan-shaped, with the value
stamped between ; the reverse has the stamp of the Mint and
the name of the year in the upper right hand corner. Japanese.
1328.
The following specimen$ to No, 1334 resemble this in shape and }
marks.
Ni-sus, two. Date of issue, 12th year of Bun Sei (A.D. 1829).
Japanese. 1329, 1830.
Ni-sus, two. Date of issue unknown, but of modern coinage.
Japanese. 1331, 1832.
Ni-Bus, two. Date of issue unknown, but of modern coinage.
Japanese. - 13338, 1834.
Icut-Bv, or }$ riyo piece. Oblong in shape; date of issue, 4th
vear of Kei Chio about A.D. 1599). On the obverse are im-
pressions of the Imperial crest, the same as on the Ni-bus ; on
the reverse is the stamp of the Mint. Japanese. 1335.
The following specimens to No. 1349 resemble this in shape and
marks.
Icui-su. Date of issue, 6th year of Kei Chio (about A.D. 1601).
On the reverse, the upper right corner is stamped with four
small marks, probably made by theexaminers, Japanese, 1386.
Icui-Bu. Date of issue, 8th year of Gen-roku (A.D. 1695). On
the upper right-hand corner of the reverse is the name of the
year. Japanese. 1337.
Icu1-su. Date of issue, 7th year of Ho-yei (A.D. 1710). On
the upper part of the reverse are some stamps signitying an
alteration in the value of the coin. Japanese. 1338.
Icur-Bus, two. Date of issue, 4th year of Chio-tok (A.D. 1714).
Japanese. 1339, 1340.
Icut-Bus, two. Date of issue, lst year of Bun-Sei (A.D. 1818).
Japanese. 1341, 1842.
Tcut-Bus, two. Date of issue, 12th year of Bun-Sei (A.D, 1829).
On the upper right hand corner of the reverse is the name of the ,
year. Japanese. 18438, 1344.
100 JAPANESE ART.
Icni-Bus, two. Date of issue, 8th year of Tempo (A.D.1837).
On the reverse is the name of the year in the upper. right hand
corner. Japanese. - 1845, 1346.
Icui1-Bu. Issued within the last thirty years. Japanese. 1847,
Tont-nus, two. Issued within the last thirty years. Japanese.
1348, 1849,
Icui-Bus, two. Round in shape; date of issue, 12th year of Kio-
Ho (A.D. 1727). On the obverse, the Imperial crest is on the
upper left side, with the examizer’s stamp, and underneath on
the right-hand side the value is marked; on the reverse is
stamped the name of the particular gold of which the coin is
made. Japanese. 1350, 1851.
Nr-suu, or 4 riyo piece. Oblong in shape; date of issue, 10th
year of Gen-roku (A.D. 1697). On the obverse above is the Im-
perial crest fan-shaped, with the value beneath; on thé reverse
are the Mint stamp, and the name of the year in the upper right
hand.corner. Japanese. 1852.
__ The following coins to No. 1355 resemble this in shape and marks.
Ni-suv. Issued within the last thirty years. Japanese. 18658.
Ni-suus, two. Issued within the last thirty years: Japanese.
1354, 1855.
Ni-suu. Round in shape. Date of issue, 12th year of Kio-Ho
(A.D. 1727). On the obverse, the Imperial fan-shaped crest is
on the left, with the examiner’s stamp beneath ; on the right is
the value; the reverse is stamped with the name of the parti-
cular kind of gold of which it is coined. Japanese. 1356.
I-suv, or 1; riyo piece. Square in shape; date of issue, 7th year
of Bun Sei (A.D. 1824). On the obverse is the Imperial crest,
with the value beneath it; on the reverse is the Mint. stamp.
Japanese, 1857.
I-sHus, two. Round in shape; date of issue, 12th year of Kio-Ho
(A.D. 1727). ‘The obverse has the Imperial crest on the left,
with the stamp of the examiner below, the value on the right ;
the reverse is marked with the name of the particular kind of
gold of which it is coined. Japanese. 1359, 1360.
Toxen. Round in shape, with a square hole in the centre; an —
imitation of a bronze coin, the date of which is the.13th year of
Kan-yei (A.D. 16386). Japanese. 1361.
SILVER Corns.
Tcut-pus, two. Oblong in shape ; coined within the last thirty
years. On the obverse is the value “ ichi bu gin” (one part of
silver); on the reverse are four characters, certifying that the
_ Value-is always the same at the Mint; above is indented the
_ eharacter for “fixed.” Japanese. 1362, 1363.
*
SILVER COINS: 101
Icont-sus, two. Coined within the last twenty years. Resembling
No. 13862 in shape and marks. Japanese. 1364 1365.
_ Ni-suus, two. Oblong in shape ; date of issue, 9th year of Mi-ka
(A.D. 1772). On the obverse is an inscription signifying that
eight of these pieces can be exchanged for one riyo or ho-ban ;
on the upper part of the reverse is a mark somewhat resembling
Jove’s thunderbolt (which is found on rare coins), and the
character for “fixed.” Japanese. 1366, 1367.
Nrsuu. Oblong in shape ; date of issue unknown. On the ob-
verse are the characters “ Ni-shu-gin ;” the reverse has a mark
somewhat resembling Jove’s thunderbolt. Japanese. 1368.
I-snus, two. Oblong in shape; date of issue, 9th year of Mi-ka
(A.D. 1772). On the obverse is an inscription stating that 16
of these coins can be exchanged for one riyo or ko-ban ; on the
reverse is a mark somewhat resembling Jove’s thunderbolt.
Japanese. 1369, 1870.
J-suus, two. Oblong in shape ; issued within the last twenty years.
On the obverse are the characters “ i-shu-gin ;” the reverse is
imarked like No. 1369. Japanese. 1871, 1872.
Corn, small and oval. Japanese. 1373.
This is not recorded in the books of reference, but is stated by the
Japanese to be the oldest silver coin, and to have been made at a
time when that metal was more precious than gold.
Tncot, oblong if shape. Japanese. End of 16th cent’. 1874.
At this time the people of the Province of Yechigo used this kind of
money; sheets of silver were made, stamped all over with the
character “ nu-riyo,” (not exact), from which pieces of the required
value were cut and weighed.
Piate, oblong. Japanese. 1375.
This is not recérdéed in the books of reference, but like No. 1374 was
cut into pieces as required, and delivered by weight. It is covered
with Mint stamps, and the silver is of extreme fineness.
Corns, two, of the shape of ko-bans, and marked on one side with
the value, i.e., 952; mommé. Japanese. 1376, 1877.
These are not recorded in the works catalogued at the head of
this section, but the nearest approaches to them are of similar size |
and shape, and were made in Tasima, a district near Kidto, belonging
to a Daimio; they are called “ Nan-riyo.”’ ‘These specimens were
also probably coined by a Daimio.
Cory, similar to Nos. 1376, 1377.5 the value stamped upon it is
“4 mommé and 6 parts.” Japanese. 1378.
Coin (uncommon) called “Jsununi Kore.” Oblong in shape ;
date of issue, A.D. 1765. On the obverse is the name of the
coin, and an inscription signifying that the value is “fixed ;” on
the reverse the name of the year is marked, and the value (5
mommé), Japanese. 1379.
102 — JAPANESE ART.
| Imrratrons of Japanese bronze coins, three. . 1880 to 1382.
Icui-Bu, coined 18th Dec. 1868, at the old Imperial Government
Mint, Osaka, Japanese. 1388.
| This specimen was coined in the presence of the owner, by whom the
| whole process was seen, from the smelting and refining of the metal,
to the final stamping of the coins by the examiners. Several
thousand people were employed, and no machinery whatever was
used, all the labour of stamping being performed by-hand, with
punches and hammers. The only pieces coined at this Mint were
' Ichi-bus, Ni-bus, NVi-shus, and id-shus. The Jchi-bus and J-shus
) were of silver of the usual fineness, but the Ni-bus and Ni-shus were
' of silver with a per-centage of gold added, which was brought out on
the surface of the piece after the coin was made, by treatment with
acids.
/ Icut-Bu, before stamping. Japanese. » 1384.
| Ni-xu; silver, with per-centage of gold. Japanese. 1385.
Ni-su, before the gold is developed. Japanese. 1386.
; Nt-su, before stamping. Japanese. 1387.
I-snu. Japanese. 1388,
Era-Gin (“Sueer Money ”).
Princes (twenty-seven) or Era-cin; irregularly shaped, chiefly
round and pea-shaped; date of issue, 8rd year of Gen-bun
(about A.D. 1378). On one side of each piece is a figure of
Dai-koku (God of Plenty), sitting on two rice-bales, and holding
his “lucky hammer ;” in the centre of the figure is the
character for the year; the round pieces are stamped on both
sides alike, some of the others are stamped on one side only, and
some have two stamps on one side. Japanese. 1389 to 1415.
Preck or Era-ein, similar to the preceding, with figure of Dai-
koku on one side. . Japanese. 1416.
a Piece or Era-cry, similar to the preceding, with figure of Dai-
koku on both sides. Japanese. 1417:
Piece or Era-ery ; with figure of Dai-koku on both sides ; this
is almost perfectly round, and is well finished, approaching the
perfection of a coin, Japanese. 1418.
Bronze Corns.
Zint. A round coin, with square hole in the centre ; on the upper
part of the obverse is a pack-horse laden with rice-bales, led by
a monkey; the reverse is plain. Japanese. 1419.
This and the succeeding coins to No. 1428¢have no date, and are
called “picture coins ;”’ they must be very old indeed, and made
prior to the time when coins were first stamped with characters.
They used to be boiled and soaked in water, which was drunk as
BRONZE GOINS. 103
medicine for various complaints, of which the old work by Kim-mo
gives particulars. The following coins, to No. 1619, except where so
stated, are of the same shape.
Zint. On the obverse is roughly depicted a horse led by a
monkey ; on the reverse is an unknown design, Japanese.
, 1420.
Zint. On the obverse is a pack-horse laden with rice-bales, led
by a coolie. Japanese. 1421,
ZENI, two, similar to the preceding. On the obverses are horses
led by coolies, the reverses are plain. Japanese. 1422, 1428.
No date is given to these coins in the books of reference, but they
are there called “horses coming out,” the heads being turned to
* the right; those with the heads turned to the left are styled
“horses going in.”
Zuni, similar to the preceding. On _ the obverse is Yébisu (the
Patron God of Fishermen and Traders), fishing ; the reverse is
plain. Japanese. 1424.
ZENI, similar to the preceding, On the obverse is Yébisu, with
a fish under his left arm. Japanese. 1425.
Ziént. On the obverse is a horse gallopping; the hole, which is
cut through the centre of the horse’s body, is round, a very
unusual shape. Japanese. 1426.
Zin1, two. On the obverse is Dai-koku and his hammer; the
reverse is plain; the hole passes through the body of the God.
Japanese. 1427, 1428.
Zini. On the obverse is a pack-horse led by a coolie, the head to
the left; on the reverse is an old square character. Japanese.
1429.
Zin. On the obverse is a pack-horse led by a coolie, the head to
the right ; on the reverse are characters. Japanese. 1480.
Zint, two. There are characters on both obverse and reverse, but
they are too much defaced to be decipherable. Very old.
Japanese. 1431, 14382.
These are not recorded in the books of reference.
Zini, two. There are characters on both obverse and reverse,
Very old. Japanese. 1433, 1434.
Zant, four. Date of issue, Ist year of Kwa-do (A.D. 708). On
the obverse of each are characters above and below, for the
year, and on the right and left, others meaning “precious
thing ;” on the reverse of 1435 is some religious writing ; 1486
and 1487 are plain, and on 1488 isa horse held by a monkey.
Japanese. 1435 to 1488.
The principal character on these and most of the following coins is
“ Takara,” meaning wealth, value, or precious or valuabie thing.
The “Ship of Good Fortune” (see No. 206) is called ‘Takara
39016. TL
104. JAPANESE ART.
bune ;” Dai-koku’s hammer is called ‘‘ Takara Dzuchi,” and j he
performs the miracle of making anything he strikes with it
produce something precious.
Zint, two. Date of issue, 15th year of Yenriki (A.D. 739). On
the obverse of each is the character for “thriving,” and below
it that signifying “long,” on the right that for “ peaceful,” and
on the left that for “ precious thing ;” the reverses are plain.
Japanese. 1439, 1440.
Zint, two. Date of issue, 4th year of Tetn-hei-hogi (A.D. 770) ;
on the obverse are the characters signifying “ precious thing
passable for 10,000 years ;” the reverse is plain. Japanese.
1441, 1442.
Zin. Date of issue, 1st year of Ten-hei-shingo (A.D. 775) ; on
the obverse, the name of the year, and the character “ Takara ;”
the reverse is plain. Japanese. 1443.
Zint. Date of issue, during the period “ Sho Ka” (A.D. 865) 5
on the obverse, above and below, are the characters “ Sho Ho”
(“prosperous and precious”), on the right and left the name of
the year, “ Sho Ka ;” the reverse is plain. Japanese. 1444.
ZiNt. Date of issue, “ Jo-é-ki” (A.D. 889). On the obverse,
above and below, are the characters “ Shin Ho” (‘ precious
thing of the Gods”); on theright and left are the characters for
the year ; the reverse is plain. Japanese. 1445.
Corns, six, of the year _Ken-Seng (A.D. 968). Above and below
on the obverses are the characters forthe year; right and left
are “ Tai Ho” (“very precious thing”) ; the reverses are plain.
Japanese. ‘ 1446 to 1451.
Corn. Date of issue, A.D. 1410; the obverse has. above and
below the characters “ Fu-sin” (“wealthy in Gods”) and on
the right and left “ Jin Ho ” (“long life,” and “ precious thing ”) ;
the reverse is plain. Japanese. 1452.
“ Fu-hkoku” means “rich country,” “ Fu-Sin ” “rich God.”
Corns, seven bronze and one iron; of different sizes; date of
issue, the year “ Kang Hei” (A.D. 1626) ; above and below, on
the obverses, is the name of the year, and on the right and left,
“Tu Ho” (“ current precious thing”); the reverses of some are
marked with curved lines, the others are plain. Japanese.
14538 to 1460.
Tempo. Date of issue, “’Tem-po” (A.D. 1835). It is made in
the shape of a Ko-ban,and’ as! square hole in the centre; the
obverse has’ the ‘characters for the year, below which are the
characters*for “ passable (current) precious thing ;” the reverse
has above the characters “ Tow Hiaku,” meaning “ equal to a
hundred bronze or iron zéni;” below is the Mint stamp.
Japanese. ° ~~ 1461.
Corns, round, four. Date of issue, “& Bun Kiu” (A.D. 1863) 3 on
the obverse the name of the year is above and below, and on the
—
BRONZE COINS. 105
right and left are the characters “ EZ Ho” (“precious thing ”’) ;
the reverse is plain. Japanese. 1462-1465.
Corns, five. No date or value is given on four of these ; the
obverses are stamped, each in a different style of character, with
a Buddhist prayer ; round the rim of one is an inscription which
fixes the date at A.D. 1661. Japanese. 1466 to 1470.
These were used for soaking or boiling, in the same manner as the
picture coins (see No. 1419).
Corn. The obverse is similar to that of the preceding numbers,
' but has the prayer of a different sect ; the reverse is plain.
Japanese. 1471.
ZEN; square in shape, and not dated. The obverse shows above
and below the characters for “ Shen-dai,” which points to its
having been coined in Shendai, a province of Japan ; on the
right and left are the characters “ 7a Ho,” (“ current. precious
thing”). Japanese. 1472.
Coins, bronze, 31. Some of these are picture coins (see No. 1419
et seq.) ; on one are two skeletons, on another is a flower; one
has the seven principal deities, another Dai-Koku and Yébisu,
with their emblems ; on another is Fusi-yama, and on another a
trefoil; all the reverses are plain. Old Japanese.
1473 to 1503.
Paper Money, 15 specimens. Issued by the Prince of Satsuma
in 1864; the largest is good for 1 “ Kang,” or “ Ichi-Kang-Mon”
(= 1000 “ Sex” or iron cash) ; the smallest is for 24 iron cash.
Japanese. 1504 to 1508.
Incors, three ; specimens of Korean money. Japanese.
1509 to 1511,
Corns, three, of the time of the famous Chinese General O-mo,
who lived before the Christian era; their exact date is not
known, but the characters on two are of the earliest form of
Chinese hieroglyphics. Old Chinese. 1512 to 1514.
ZENI or CASH, bronze, two; one large and one smaller ; date of
issue, A.D. 723; the smaller may be spurious. On the obverses,
above and below, are the characters for the year, and on the
right and left those for “ current precious thing.” Old Chinese.
1515, 1516.
Casu. Dated A.D. 768 ; the obverse is the same as in the pre-
ceding numbers ; the reverse has.a small mark, which, tradition
says, was placed on all the cash of a particular issue, to com-
memorate the visit of an Empress to the Mint, when she touched
the mould with the tip of her long finger-nail.. Old Chinese. :
1517.
Casu. Dated A.D. 968. The obverse is the same as in the
preceding number ; the reverse is plain. Old Chinese. 1518.
CasH, three. Dated A.D. 976, and resembling the preceding
number. Old Chinese. 1519 to 1521.
_ 106 JAPANESE ART.
Casu. Dated A.D. 990, and resembling the preceding number.
Old Chinese. AP Ba22.
Casu, three. Dated ALD. 995 ; the obverse has the same meaning,
but each coin is stamped in a different character; the reverse is
plain. Old Chinese. 1523 to 1525.
Casu, two. Dated A.D. 998, Old Chinese. 1526, 1527.
Casu. Dated A.D. 1004, but possibly spurious. Old Chinese.
1528.
Casu. Dated A.D. 1004. Old Chinese. 1529.
- CAsH, two. Dated A.D. 1018 ; the obverses have characters in
different styles from the preceding. Old Chinese. 1580, 1531.
Cas, five. About A.D. 1023; the obverses have characters
written in two different ways. . Old Chinese. 1582 to 1536.
CasH. Dated 1032. Old Chinese. _ 1537.
Casu. Dated 10384. Old Chanese. | 15388.
CasH, four. Dated 1038; the hole in one is star-shaped.
Old Chinese. jk 15389 to 1542.
CasH. Dated A.D. 1054. Old Chinese. 1543.
Casu, three, Dated A.D. 1056; the characters are in two styles.
Old Chinese. 1544 to 1546.
Casu, five. Dated A.D. 1064; the characters are in two styles.
Old Chinese. 1547 to 1551.
Casu, four. Dated A.D. 1069. Old Chinese. 1552 to 1555.
Casu, three. Dated A.D. 1074. Old Chinese. 1556 to 1558.
Casu. Dated A.D. 1082. Old Chinese. 1559.
Casu, two. Dated A.D. 1090. Old Chinese. 1560, 1561,
Casu, two. Dated A.D. 1094. Old Chinese. 1562, 1563.
Casu, two. Dated A.D. 1098 or 1099. Old Chinese.
1564, 1565.
Casu, four. Dated A.D. 1099, Old Chinese. 1566 to 1569.
Casu, two. Dated A.D. 1104; the larger is of the greater value.
Old Chinese. 1570, 1571.
Casu, two, Dated A.D. 1108; they have the same character in
two styles. Old Chinese. 1572, 1573.
Casy. Dated A.D.1112. Old Chinese. 1574.
Casu, three. Dated A.D. 1115. Old Chinese. 1575 to 1577.
CasH. Dated A.D. 1156. Old Chinese, 1578.
BRONZE COINS. 107
Casu, two. Dated A.D. 1183; the reverse is undecipherable.
Old Chinese. 1579, 1580.
Casu, two. Dated A.D. 1194; on the reverse of one is the
character “four.” Old Chinese. — 1581, 1582.
CasH. Dated A.D. 1201; on the reverse are characters. Old
Chinese. 1583.
Casu. Dated A.D. 1221. Old Chinese. 1584.
Casu. Dated A.D. 1230; an unknown character is on the re-
verse. Old Chinese. 1585.
Casu. Dated A,D. 1234; the reverse is undecipherable. Old
Chinese. 1586.
Casu, two. Dated A.D. 1258. Old Chinese. 1587, 1588.
CasH, two, one of greater value than the other. Dated A.D. 1826 ;
an unknown character on the reverses. Old Chinese.
1589, 1590.
Casu, two. Dated A.D. 1886; an unknown character is on the
reverse of one, the other is plain. Old Chinese. 1591, 1592.
Casu, four. Dated A.D. 1492. Old Chinese. 1598 to 1596.
Casu, two. Datéd A.D. 1573. Old Chinese. 1597, 1598.
Casu, two. Dated A.D. 1621; on the reverse of the larger one are
the weight and value. Old Chinese. 1599, 1600.
Casu, six. Dated A.D. 1643; on the reverses are various un-
_ known marks. Old Chinese. 1601 to 1606.
Casu. Dated A.D. 1646. Old Chinese. 1607.
CasuH, eight. Dated A.D. 1661; on the reverses are various un-
known marks. Old Chinese. 1608 to 1615.
Casu, three. Dated A.D. 1723; on the reverses are various un-
known marks. Old Chinese. 1616 to 1618.
’ Casu, of unknown date. Old Chinese. 1619.
This collection comprises a great many more Chinese and Korean
copper coins than are exhibited, but the above are sufficient to illus-
trate the antiquity and general nature of the coinage.
NEw CoINAGE.
The following coins, Nos. 1626 to 1635, are issued from
the New Imperial Mint, which was established in 1870. The
gold “ Yen” is the present unit of account, and takes the
place of the “ Riyo;” it differs as to the quantity of gold
contained in it from the standard gold dollar of the United
States, by a reduction of only about three-tenths of one per
108 JAPANESE ART.
cent. ; it contains of fine gold precisely one gramme and a
half, and being of nine-tenths fineness, weighs just one
gramme and two-thirds; consequently a decagramme of
gold, of the ordinary standard of nine-tenths fineness, is
equivalent in value to six ‘‘ yens.”
The silver “yen” is equal to the Mexican dollar in shape,
weight, and fineness. .
Copper “sen,” “4 sen,” and “mil” coins aire also issued.
According to a report of. the Master. of the Mint (Major
Kinder), addressed to the Minister of Finance, there were
imported into Japan during the year ending July 31st,
1872, for the use of the Mint, 858,226 oz. of gold (about
3,000,000/.), and 4,767,175 oz. of silver (about 1,192,0002.) ;
the total: number of gold pieces struck during the same
year was 2,190,256, valued at 14,488,981 dollars, and of
silver, 13,313,722, valued at 5,689,685 dollars, being a
total of 15,503,978 pieces, valued at 20,178,666 dollars.
The word “ Yen” is derived from the Chinese, and means
“round”; it was used by literary people when. speaking
of the “ Ko-ban,” thus “Ichi Yen,” means “one round” ;
the common way of describing an oval is to say, “ Zama-
gona,” i.e, egg-shaped; the Chinese call an oval “ Ta
yen,” 4.¢., “long round.” rate
The word “Sen” or zéni (see introductory remarks) was
formerly only used to .express the single coins of that
denomination, which were made of copper or iron, and were
never of greater value than one sen, but in the new coinage
it will be observed that they are made of the value of five
or ten sen, and may be of either silver or copper.
Goup Corns.
Twenty-YEN Piece, round. Date of issue, 3rd year of Meijee
(A.D. 1870); on the obverse are the sun surrounded by a
wreath formed of branches of the iri (Paulownia) and chry-
santhemum, the Imperial banners with their staves crossed,
and the intervals filled with the Riri and kikwmons; on the
reverse the Imperial Dragon with the inscriptions “ Dai Ni
pon” (Great Japan), “ Mei ji san nin” (3rd year of present
Emperor), and the value. Japanese. 1620.
Trn- YEN Piece, round. © Date of issue, 4th year of Meijee (A.D.
1871); the design is the same as the preceding. . Japanese.
1621
Five-YEn Piece, round. Date of issue, 3rd year of Meijee (A.D.
1870), the design is the same as the preceding. Japanese.
162
ee ee
Peletesataan! $+ 4~'
SILVER COINS. . 109
Two-YEn Pince, round. Date of issue, 8rd year of -Meijee (A.D.
'1870); the design is the same as the preceding. Japanese.
i 1623.
Onr-YEN Piece. Date of issue, 4th year of Meijee (A.D. 1871),
the obverse is the same as the preceding; on the reverse the
characters Ichi Yen (one Yen) occupy the centre, and are
surrounded by the inscription “ Dat-ni-pon” (Great Japan), and
the date. Japanese. 1624.
Sitver Corns.
Onn-Yen Piece, round, Date of issue, 3rd year of Meijee (A.D.
1871) ; on the obverse the sun with its rays occupies the
centre, and round the border are branches of the Kiri and
chrysanthemum, with two Kiri and one Kiku crests; the
reverse is stamped in the same manner as the reverses of the
gold coins. Japanese. 1625.
Har-YEn or Firry Sen Piece. Date of issue, 4th year of Meijee
(A.D. 1872) ; stamped like the preceding. Japanese. 1626.
Twenty-Sen Pisce. Date of issue, 3rd year of Meijee (A.D.
1871) ; stamped like the preceding. Japanese. 1627.
Trn-Sen Piece. Date of issue, 3rd year of Meijee (A.D. 1871);
stamped like the preceding. Japanese. 1628.
Five-Sen Piece. Date of issue, 4th year of Meijee (A.D. 1872) ;
the obverse is like the preceding, but the reverse has the charac-
ters for the value in the centre, instead of the Dragon, Japa-
nese. 1629.
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_ Printers to the Queen’s most, Excellent Majesty. BY
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a
CATALOGUE OF OBJECTS
EXHIBITED AT
THE WORLD'S COLUMBIAN EXPOSITION
CHICAGO, U.S. A.
1893.
BY
THE DEPARTMENT OF EDUCATION,
JAPAN.
TRANSLATED AND PUBLISHED
BY
THE DEPARTMENT OF EDUCATION,
TOKYO, JAPAN. |
1893.
i
2 PREC
dota hein
Le i
bi jodie Bam
ate. igo Be: A
"
ee
- Shdké Jogakk6 (Private Female School in the Prefecture of Kumamoto).
CONTENTS.
Kindergartens
Elementary Schools
Kyoritsu Joshi Shokugy6 Gakko 5 (Private Female Industrial 41 School)
Iwate Jogakk6 (Private Female School in the Prefecture of Iwate). .
_ Tokyo Blind and Dumb School
ee ee ee
Kyoto Méa In (Blind and Dumb Institute in the city of Kyoto)
Ordinary Middle Schools ..
Female Schools
First Higher Middle School
Second Higher Middle School ..
Third Higher Middle School
_ Fourth Higher Middle School .
‘;
Medical Department of the Fourth Higher Middle School
Fifth Higher Middle School
| Yamaguchi Higher Middle School . .
Imperial University
College of Engineering ..
College of Science ..
College of Agriculture ..
Ordinary Normal School ..
The Higher Normal School
Elementary School attached to the Higher: Normal School
Single-classed School attached to the Higher Normal School
Tdkyd Educational Museum attached to the Higher Normal School ..
CONTENTS.
Higher Female Normal School
Higher Female School attached to the Higher Female Normal School.
Elementary School attached to the Higher Female Normal School
Kindergarten attached to the Higher Female Normal School
Higher Commercial School
Commercial Schools
Toky6 Technical School ‘
Apprentice’s School attached to the Tékyé Technical School
Technical School in the Prefecture of Ishikawa ..
Toky6 Fine Art School
Kyoto Fine Art School
Toky6 Music School ..
Agricultural Schools ..
Statistical Tables and Charts
Text Books .
The Educational Society of Japan ..
93.
98
101
104
105
107
10)
111
112
H OO DO Re
9
10
11
CATALOGUE OF OBJECTS —
EXHIBITED AT
THE WORLD'S COLUMBIAN EXPOSITION
CHICAGO, U.S. A.,
1893.
BY
THE DEPARTMENT OF EDUCATION,
JAPAN.
GROUP 149, CLASS 841.
ie tes
~ KINDERGARTENS.
Photograph. 1|A 12 | Kindergarten gift. 5 cases
ditto 1s) MS ditto 1
ditto 1]. 14 ditto “4
Specimens of work em ditto
done by infants. Sa, . 16 ditto 1»
Pea-work by infants. 8], 17 ditto
Clay-work by infants. 1] .,, 18 ditto 1 ,,
Specimens of work ies ditto 1
done by infants. 1} 20 ditto
Drawing by infants) 1], 21 ditto 1
jh ae ditto
APPARATUS FOR INFANT 93 ditto
TRAINING. Plast eas ;
Kindergarten gift. ° 1], 25 ditto
ditto ' 1] 9261 Charts for convers- — .
ditto 4 ation on Morals. 20
”
27
Historical pictures.
28 | Colored paper.
29
30
31
32
33
34
35
36
37
38
39
40
41
49
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
Model of a house
showing its con-
struction,
Toy based on arith-
metic.
Model of fish.
Syllabary of the Jap-
anese alphabet.
Card-laying.
Box garden.
Toy.
Model of fruits.
Modelof vegetables.
Embroidery.
Basket for putting
flowers in.
Drawing of fowls.
Drawing of animals.
Drawing of birds.
Model of elephant.
» 9g, tiger.
» 59 COW.
a swaorse.
wild hog.
deer.
bear.
pig.
dog.
monkey.
fox.
badger.
»» sy Sheep.
3» 93 Chin (Jap-
anese dog).
» 5 hare.
go. gy Cah
” ae
” 99
32
1 box
1 case
1 bP)
1 ”
1.,,
1 39
i: 39
Puy
1 ”
fs
1
1
1 case
Ef
1
1
1
1
1
1
1
1
1
i
a
Ef
Ly
te
59
60
61
62
63
64
70
78
| Model of bat.
ged Lane
1» 4pinsects:
Drawings of fowls.
ps aa
yy BDIMals.
Chart for Conversation
on Morals, A No. 26;
Model of Fruits, A No.
36; Model of Vegetables,
A No. 87; Model of
Insects, A No. 61; Draw-
ing of Fowls, A No. 62;
Model of Fish, No. 63;
and Drawing of Animals,
A No. 64 are used not
only for training infants
in kindergartens, but
are also used for teach-
ing in the elementary
schools.
Copy-book for
Drawing.
Toys.
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
1
1
3
3
a ee ee ee ee ee
1 case
EC
errs
83 ditto
84 ditto
85 ditto
86 ditto
87 ditto
88 ditto
89 ditto
90 ditto
91 ditto
— 92, ditto
93 ditto
94 ditto
95 ditto
96 ditto
97 ditto
98 ditto
99 ditto
100 ditto
101 ditto
102 ditto
103 ditto
104 ditto -
105 ditto
106 ditto
107 ditto
108 ditto
109 ditto
110 ditto
111 ditto
112 ditto
113 ditto
114 ditto
115 ditto
116 ditto
17 ditto
118 ditto
119 ditto
food
ie)
=
RM
A Oe ee ee ee eo a ll ell el el ee ee)
oOo
ae ee ee Oe eo
120
39
99
99
121
122
123
124.
125
126
127
128
129
130
131
182
133
134
135
136
137
138
139
140
141
Toys.
_ ditto
ditto
ditto -
The objects A 1-120 con-
sist of those exhibited by
the Kindergartens and
those collected by the
Department of Educa- |
tion. They are designed
to show the present con-
dition of the Kindergar-
tens.
tt te
SPECIMENS OF WORK DONE
BY INFANTS.
Specimens of work
done by infants.
4 tablets.
ditto 1 vol.
Kindergarten gift.
ditto ]
ditto 5
ditto
ditto
Specimens of work
done by infants. 1
Kindergarten gift.
ditto 1
ditto
ditto
ditto
ditto
ditto
Specimens of work
done by infants. 1 tablet.
Kindergarten gift. 1 case
ditto 1S
ditto t
ditto 1
Specimens. of work
done by infants. 2
142
148
144
145
146
147
148
bo
or)
on
Specimens of work
done by infants. t
ditto 1
ditto 1 vol.
APPARATUS FOR INFANT
TRAINING.
Models of various
objects for con-
' versations.
Pictures for conver-
sation on Morals. 8 rolls
Apparatus for in-
fant training.
1 case
SPECIMENS OF WORK DONE
BY CONDUCTORS.
Specimens of work
done by assistant-
conductors. 1 tablet.
———ooooe
1 case)
150
151
152
Specimens of work
done by conduc-
tors and infants.
(in folding screen). 1
Specimens of work
done by conduc-
tors.
ditto
Specimens of work
done by pupil-
conductors.
1 vol.
1 case
1 vol.
The specimens of handi--
work by conductors
are specially exhibited
for the purpose of refer-
rence. In A No. 146, the
specimens of conductors’
work are mixed with in-
fants’ work, as, in this
case, it was impossible to |
exhibit them separately.
GROUP 149, CLASS 842,
ELEMENTARY SCHOOLS.
Photograph of
school buildings. 4
ditto 1
Plan of — school
buildings. 1
ditto 1
WORK BY PUPILS.
Examination pa-
pers. 17
ditto 18 vols.
ditto 1
ditto 5
B
9 | Examination
pa-
ase
pers.
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
SC ee ee ee
Fi ny
MES
22
23
24
25
26
27
28
29
30
31
32
33
34
37
38
39 |
DRAWING BY PUPILS. ment) for gentle-.
Brush drawing. 1 vol. Men, 1
ditto 1|B 40] Wataire (padded.
Pencil drawing 8 garmont) ro
i children. 1
Man, 4) 41. | Wataire (padded —
garment) for. -
SEWING BY PUPILS. ladies. 1
Elementary sewing. 10], 42 | Awwase-haori (lined
ditto 3 coat) for gentle-
Furoshiki (cloth men. 1
used for wrap- ,, 48 | Wataire-haori (pad-
ping). 1 ded coat) for gen-
Zukin (hood). 8 tlemen. 1
Yodarekake (bib). 1] 44] Hakama (a kind of
Munakake (a kind of trousers). 1
apron). 1 | ,, 45 | Obi (belt) for child-
Saifu (money bag). te ren. | ]
Shirt. 1 | ,, 46 | Obi (belt) for ladies. 1
Juban (under-gar- |, 47 | Sodenashi-haort
ment) for gentle- (coat without
men. ries sleeves) for child-
Model of juban | ren. ts
(under-garment) , 48] Zeko (a kind of a
for ladies. if gloves). 1 pair
itoye (summer |, 49 | Kogake (a kind of
garment) for leggings). Tee
children. 1|,, 50| Patcht (a kind of
Tsutsu-sode (gar- trousers). Ae
ment without , bl | Kyahan (leggings). 1 ,,
sleeves) for child- , 52| Hlementary sew-
ren. 1 rhs age 10
Hitoye (summer » 53 | Puroshike (cloth
garment) for gen- used for wrap-
tlemen. 1 ping), > 2
Awase (lined gar- , 54 | Nuka-bukuro (bag
ment) for child- for keeping rice-
ren. 1 bran, used as
Awase (lined gar-
soap).
co
B55 | Zukin (hood).
56
oy fe
58
59
60
61
62.
63
64
66
67
68
69
70
Yodare-kake (bib).
Juban (under-gar-
ment) for gentle-
men.
Juban (under-gar-
ment) for ladies.
A wase-naga-juban
(long lined un-
der-garment) for
‘ladies.
Eitoye (summer
garment) for
children.
Hitoye (summer
garment) for gen-
tlemen.
Mitoye (summer
garment) for la-
dies.
Awase (lined gar-
ment) for child-
ren.
Awase (lined gar-
ment) for ladies.
Wataire (padded
garment) for
children.
Wataire (padded
garment) for la-
dies. |
Awase-haori (lined
coat) for ladies.
ditto
Hakama (a kind of
trousers).
Obi (belt) for gen-
tlemen.. -
ris
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
Obi (belt) for la-
dies.
Sodenashi-haori(coat
without sleeves)
for children.
Maru-digi (padded
under-garment
without sleeves)
for children.
Shirt.
Momohiki (a kind of
pantaloons).
Elementary sewing.
ditto
ditto
ditto
Furoshiki
used for
ping).
ditto
ditto
Garment made of
various pieces of
cloth.
Lukin (hood).
ditto
Yodarekake (bib).
ditto
(cloth
wrap-
Cord.
Munakake (a kind
of apron).
Juban (under-gar-
ment) for girls.
Model of juban (un-
der-garment) for
gentlemen.
Juban (under-gar-
ment) for ladies.
Nee Re
bt et
et be ODD
ll el
B 93 | Model of naga- B 110 | Haort (coat) for
jutan (long under- gentlemen.
garment) for la- », lll | Awase-haort (lined |
dies. 1 coat) for children. 1
» 94 | Explanations for ,» 112) Hifu (a kind of
the sewing of gar- coat). 1
parte: 7 ||, 118 | Hakama (a kind of
“ . trousers). 1
p° ata oe , 114 | Obé (belt) for child-
pee) “ 1 ren. 1
: ames BG ditto ih
P|: | fitto 1) 116 | Obi (belt) for ladies. 1
, 97 | HAitoye (summer gar- ,, 117 | Sodenashi-haori
ment) for gentle- (coat without
men. 1 sleeves) for child-
» 98 | Hitoye (summer gar- ren. 1
ment) for ladies. 1 |. 118 |\Maru-haori (a kind of
» 99 | Awase (lined gar- coat) for children. 1
ment) for child- , 119 | Shirt. i’
Sorgen 1 », 120 | Hikone-patchi (a
9 100 | Awase (lined gar- kind of panta-
ment) for gentle- loons). 1
men. iL
» 101 | Wataire (padded HANDIWORK BY PUPILS.
garment) for 55 121 | Embroidery.
children. Li eee ditto
;» 102 | Wataire (padded Pe be ditto 2
garment) for gen- ,, 124] ditto 2
tlemen. Lay 226 ditto
, 103 | Garment made of 4g: oe ditto
various pieces of by LZY ditto
cloth. 1] ,, 1281 — ditto
,», 104 ditto Bea $5. A ditto
, 105 | Patching. 1|,, 130! ditto
2 106 ditto Pa Ee ditto
E> ).107 ditto 1 | ,, 182 | Yodarekake (bib).
¢ 208 ditto Lt 4, °° £38 ditto
» 109 | Skirt sewing. 1] ,, 184 | Hand ball.
Oe & Oo tH DN Re oo eS
135 | Bag.
136 ditto
137 | — ditto
138 ditto
189 | Hiyi-tsuki (cushion
for resting el-
bow).
140 ditto
141 | Kinchaku (purse).
142 ditto
143 | Mamori-bukuro (bag
of charms).
144 | Tebako (a small
box).
145 ditto
146 | Oshiye (raised fancy
work).
147 ditto
148 ditto
149 ditto
150 | Ball.
151 | ditto
152 ditto
153 | — ditto
154 ditto
155 | Woolen knitting.
156 ditto
157 ditto
158 ditto
ane (Withdrawn).
TEXT-BOOKS.
908 | “Futsi Tokuhon”
(Elementary Rea-
209
ders), by K. Ta-
kahashi.
“ Koto Shégaku To-
kuhon” (Readers
=
i OO ce oe
8 vols.
See ee
210
211
212
213
214
215
for Higher Ele-
mentary Schools),
by A. Ikenaga
and S. Nishimura. 8 vols.
“Jinjo-kwa Shiaji-
cho” (Copy-book
for Ordinary Ele-
mentary Schools),
by K. Ito.
“ Koto-kwa Shiaji-
cho” (Copy-book
for Higher Ele-
mentary Schools),
by K. Ito.
Jinjo Shogaku
Hissan Zensho”
(Written Arith-
metic for Ordi-
nary Elementary
Schools), by B.
Sakuma.
“ Koto Shogaku
Hissan Zensho”
(Written Arith-
8
metic for High- |
er Elementary
Schools), by B.
Sakuma.
“Shogaku Shusan
Zensho” (Aba-
cus Arithmetic
for Elementary
Schools), by G.
Asaka and S.
Kuroda.
“ Gakko-yo Boki”
(Book-keeping for
school use), by
Y. Yamanishi.
4
2
93
9
eda tN uh te ta ERS
916 | “Shogaku ~~ Chiri
Kycohon” (Ele-
mentary Geo-
graphy), by Y.
Omura.
“Shogaku, Nihon-
shi” (Rudiments
of the History of
Japan), by B.
Jimbo. C25
“Rikwa Nytmon”
(Science Guide),
by K. Matsumoto. § ,,
‘“Gwagaku Sho-
ho” (Elementary
Drawing), by J.
- Yanagisawa. 5c eae
“Shogaku Shokwa
Sha” (Collection
of Elementary
Songs), compiled
in, the Depart-
ment of Hduca-
tion. aan
‘Chart of Songs,
compiled in the
Department of
Education. 3 sets
217
218
219
220
221
“ Nogydsho” (Agri-
culture), by K.
Furusawa.
English Spelling,
by Ishida and
Tanabe.
““Ye-tehon” (Copy-
book for Draw-
ing).
Chart of Morals
based on the Im-
perial Speech.
223
224
225
20
6 vols.
3 vols.
1 vol.
2 vols.
B 226
227
Capstan.
APPARATUS OF TE ACHIN G.
Instrument for
teaching frac-
tions. ; es |
Large Abacus
for Elementary
School use. a.
Apparatus for the |
Computation of
Numbers. i
(Withdrawn).
Abacus. 1
Card for teaching
fractions. 1
Specimens of Jap-
anese timber trees. 5 cases
(Withdrawn).
PHYSICAL APPARATUS.
Trregular plate.
Pully.
Wheel and axle.
Lever.
Inclined plane.
Wedge.
Model of screw.
Ring to illustrate
the centrifugal
force. 1
Balance with a set
of brass weights. 1
(Withdrawn).
Equilibrium tubes. Le
Plumbum bomb. 1
Spirit level. . 1
ee
267
268
269
270
271
272
273
274
275
276
Apparatus for the
downward | pres-
sure of liquids.
Apparatus for the
upward pressure
of liquids.
Model of water-
wheel.
Apparatus to illus-
trate Archimedes’
principle.
(Withdrawn).
Air pump.
Bell glass receiver.
Two glass bottles
for the expansion
of air.
Small India-rubber
balloon.
Open top bell glass
receiver with a
piece of India-
rubber sheet.
Barascope, glass
glove.
Vacuum fountain.
Tantalus’ cup.
Magdeburg hemi-
sphere.
Barometric tube, re-
server, and fun-
nel.
Mercury.
Model of lifting and
forcing pump.
Steel bar for vibra-
tion.
Teethed wheel,
286
287
288
289
290
291
292
293
294.
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
Apparatus of sono-
rous waves.
Tuning fork.
Violin bow.
Model of ther-
mometer.
Thermometer.
Ball and ring.
Compound bar, cop-
per and iron.
Bar, connecting
copper and iron.
Working model of
steam engine.
Prism.
(Withdrawn).
Double convex lens.
Double concave
lens.
Reflection appara-
tus.
Refraction appara-
tus.
Model of the eye.
Newton’s colored
dise.
Glass rod for gene-
rating electrici-
ty.
Ditto, covered
with sealing wax.
A piece of silk.
A piece of wool.
Electric pendulum.
Gold leaf electro-
scope.
Electrophorus.
Cat skin.
fmt fe ep
317
318
319
320
321
322
323
d24
325
326
327
328
329
330
Ramsden’s friction
~ machine.
Leyden jar.
Discharger.
Model of lightning
conductor.
Electrical — sports-
man.
Leyden jar with
bell, and bell for
slow discharges.
Electrical flies on
stand.
Copper and zine
tongs for galvanic
experiment.
Bunsen’s Galvanic
battery.
(Withdrawn).
Galvanometer, sim-
ple form.
Voltameter.
Horse-shoe electric
magnet.
Model of Morse’s
telegraphic _re-
corder and key.
Steel bar.
Apparatus to illus-
trate Oecrsted’s
law.
Compass.
Bar magnet.
Sand iron.
Cotton wound cop-
per wire.
epee
3 70.
331
332
333
334
335
336
O37
338
339
340
341
342
343
344
345
346
347
348
349
300
351
352
3098
304
355
306
oot
11
CHEMICAL APPARATUS.
Glass mortar and
pestle.
Cork’s borer.
Glass tube.
Retort stand.
Retort.
Iron tripod stand.
Copper wire gauge.
Test tubes frame.
Support for hot
test-tube.
Test tube.
Test tubes brush.
Balance, in glass
case, with
weights.
Glass spirit lamp.
Flask.
Bottle with
mouth.
Glass funnel.
Filtering paper.
Porcelain evaporat-
ing basin.
Sand bath of iron
plate.
Receiver.
Calcium tube.
U-shaped tube.
Calcium tube with
ball.
Pneumatic trough
of iron plate.
wide
Me pe pe eee
—
me Loe
ho
Caoutchouc tube. 5 shaku.
Gas holder.
Copper wire gauge
spoon.
1
1
Test paper. 3
Blow-pipe. i
Charcoal. 1
Cork. 24.
Caoutchoue stopper. 6
Horse-shoe mag-
net. 1
Shallow porcelain
dish. STH
Hydrogen gas bot-
tle. 1
| Wolff’s bottle, with
two necks. : 1
Steel spatula. i
Triangular file. i
Round file. 1
Glass cylinder, gra-
duated. |
Glass cylinder. : 1 |
Glass bottle with
narrow mouth. G |
Deflagrating spoon. Bs
Tron retort. 1
Porcelain crucible,
with cover.
if
Lead crucible. — ]
Crucible tongs. 1
Cork squeezer. 1
Portable furnace. 4}
Glass plates. 6
‘Bell glass receiver. 1
Thermometer. 1
Beaker. 1 set. |
Glass rod. 3 |
SPECIMENS, MODELS, ETC. |
Japanese mineral-
ological speci-
mens. 1 set.
386
387
388
389
397
398
399
400
401
Japanese botanical
specimens.
Models of Japanese
flora. 5 kinds
Specimens of Ja-
panese rocks.
1 set.
1 set.
ZOOLOGICAL SPECIMENS.
Kaweahori (Ves-
perugo abramus,
Tem.). i:
Mugiura (Talpa
moogura, Temm.).- 1
ltacht (Mustela Ita-
tsi, Tem). ]
Nezumi (Mus decu-
manus, Pall.). 1
Ditto (Skeleton). 1
Kawasemt (Alcedo
bengalensis,
Gm.). 4
Aokera (Gecinus
-Awokera, Tem.). 1
Yotaka (Caprimul-
eus Jotaka, T. &
S.). I
Chima-tsugumi (Tur-
dus fuscatus,
Pall.). (Tae
Suzume (Passer
montanus, L.). 1
Hashibuto-karasu
(Corvus japonen-
sis, Bp.). 1
Heitaka (Accipiter
nisus, L.). 1
Aijibato (Turtur ori-
entalis, Lath.). 1
-_
407
411
412
413
414
— ALS
416
Uzura (Coturnix
communis, Bon.).
Jishiki (Scolopax
gallinago, L.).
Shirasagi (Ardea
intermedia,
Wagl.).
Kogamo (Anas crec-
ca, L.).
UY (Phalacrocorax
capillatus, T. &
S.).
Ajisasht (Sterna
longipennis,
Nord.).
Kaitsuburi (Podi-
ceps minor, Gmn.).
Ishigame (Clemmys
japonica, Gray).
Tokage (umeces
quinquelineatus,
L.).
Yamakagashi (Tro-
pidonotus _ tigri-
nus).
Mikigaeru (Bufo
vulgaris, Linn.).
Tonosamagaeru
(Rana esculenta,
h:).
Imori (Triton pyrr-
hogaster, Boje).
Suzuki (Percalabrax
japonicus, C. &
Ni)
Kasukodai (Pagrus
cardinalis, C. &
V.).
13
B 417 | Saba (Scomber co-
lias, L.). 1
, 418 | Jna (Mugil cephalo-
tus, C. & V.). 1
, 419 | Sayort (Hemiram-
phus Sayori, Sc.). 1
» 420 | Meitagaret (Paroph-
rys cornuta, Sc.). 1
jy ° 421 ama (Carassius
auratus, L.). 1
» 422} Ayu (Plecoglossus
altivelis, Se.). £
», 423 | Anago (Congra-
murena Anago,
Sc.) 1
, 424 | Mafugu (Tetraodon
vermicularis, Sc.). 1
, 425 | Yojtwvo (Syngna- —
thus serratus,
Sce.). 1
» 426 | Hoshizame (Muste- ;
lus manazo, ,
Bleek.). A
», 427 | Yatsume-unagi (Pe-
tromyzon fluvia-
tilis, Th.). 1
» 423 | Hoya (Cynthia,
Sp.). 1
», 429 | Namako (Stichopus
japonicus, Sel.). 1
,, 4380 | Tako-no-makura
(Clypeaster, Sp.). 1
,, 481 | Kikyigai (Poronel-
la, Sp.). f
, 4382} Uni (Echinometra,
Sp.). 1
, 433 | Hitode (Asterias,
Sp.). :
dd
B 484
435
436
437
449
Lidako (Octopus
ocellatus, D’ Orb.
& Fer.).
Meika (Sepia escu-
lenta, Hoyle.).
Mimiika — (Sepiola
japonica, D’Orb.
& Fer.).
Katatsumuri (Helix
quaesita, Desh.).
Kiserugat (Clausilia,
Sp.).
Naganishi (Hemifu-
sus tuba, Reer.).
Bai (Epurna japo-
nica, Lisc.).
Sazaye (Turbo cor-
natus, Gm.).
Takaragat (Cypreea
mauritiana, L.).
Lokobusht (Haliotis
supertenta, Lisc.).
Yomegasara (Patella,
nigrotineeta,
Reer.).
Mirukui (Lutraria
Nuthali, Cour.),
Mate (Solen, Sp.).
Baka (Trigonella
sulcataria,
Desh.).
Hamaguri (Cy-
therea meretrix,
Keer).
Sarubi (Scapharea
suberenata,
Lisc.).
B 450
459
460
463
464
465
466
467
Tobukai (Anodonta,
Sp.).
Igai (Mytilus Dun-
keri, Reer.).
Ltayagai (Vola la-
queata, Sow.).
Kaki (Ostrea, Sp.).
Kimarubacht (Bom-
bus, Sp.).
HHachi (Polistes,
Sp.).
Ari (Ponera, Sp.).
Michioshie — (Cicin-
dela chinensis,
De Geer.).
Gengors (Cybister
japonicus,
Sharp).
Haramuguri (Gly-
cyphana = aygy-
rosticta, Burm).
Lentimushi — (Coe-
cinella F'-punce-
tata, Scop.).
Kiageha — (Papilio
machaon, IL.).
Chalanasesert (Pam-
phila pellucida,
Mur.).
Yugahobetls (Chaero-
campa japonica,
Butl.).
Kaiko-no-ché (Bom-
byx mori, L.).
Abu (Eristalis, Sp.).
Shoya (Asilus, Sp.).
Aobae (Calliphora,
Sp.).
——_— eer
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
15
Mizukamakiri (Ran-
atra fusca,
Beauyv.).
Aburasemi (Cicada,
Sp.).
Ohagurotombo (Ca-
lopterix, Sp.).
Akatombo (Diptax,
Sp.).
Kurumabatla (Acry-
dium, Sp.).
Hasamimushi (For-
ficula, Sp.).
Mukade (Scolopen-
dra, Sp.).
Yasude (Julus, Sp.).
Mekuragumo (Pha-
langium, Sp.).
Benkeigani (Pachy-
soma inter-
medius, D. H.).
Tenagaeli (Palae-
mon ___longipes,
Dis)
Yadokari (Pagurus,
Sp.).
Shako (Squilla ora-
toria, D. H.).
Funamushi (Higia,
Sp.).
Kamenote (Pollici-
pes mitella,
Darw).
Mekwaja (Lingula
anatina, L.).
Hiru (Hirudo nip-
ponica, Whit.).
Hara-no-mushi. (As-
486
487
488
489
490
491
492
493
caris lumbricoi-
des, L.).
Kudasango (Tubi-
pona, Sp.).
Umihiba (Gorgoria,
Sp.).
Midori-ishi (Modre-
pora, Sp.).
Biwagaraishi (Ocu-
lina, Sp.).
Umiwata (Euspon-
gia, Sp.).
Umihechima
lina, Sp.)
Mushinosu — (Hali-
chondria, Sp.).
Kohorogi (Acheta,
Sp.).
(Cha-
SPECINENS OF FRUITS AND
VEGETABLES.
Renkon (Nelumbium
speciosum).
Wasabi (Kutrema
Wasabi).
Kabura (Brassica
campestris).
Daikon (Raphanus
sativus).
Tebushukan (Citrus
medica, var. chi-
rocarpus).
Remon (Citrus limo-
num).
Mikan (Citrus nobi-
lis).
Yuzu (Citrus auran-
tium).
ae ai
3”
.| Sumomo
Zabon (Citrus decu-
mana).
Natsume (Zyzyphus
vulgaris).
Budo (Vitis vini-
fera).
Soramame (Vicia
faba).
Endé (Pisum sati-
vum).
Omame
hispida).
Natamame (Cana-
vallia ensiformis).
Azuki (Phaseolus
radiatus).
Fujumame (Dolichos
cultratus). ,
Mume (Prunus
Mume).
Momo (Prunus per-
sica).
(Glycine
(Prunus
triflora).
Botankyo a kind of
Prunus com-
munis).
Nashi (Pyrus_ us-
suriensis).
Ringo (Pyrus
Malus).
Biwa (Photinia
Kriobotria japo-
nica).
Zakuro(Punica Gra-
natum).
Tégwa (Lagenaria
dasistemon).
Satsuma-imo
Hechima (Luffa,
petola).
Kiuri
sativus).
Makuwauri (Cucum-
is Melo).
Suikwa (Citrullus
edulis).
Tonasu. (Cucurbita
Pepo).
Ninjin
Carota).
Udo (Aralia
data).
Gobo (Lappa major).
Kaki — (Diospyros
Kaki).
(Cucumis
(Daucus
cor-
(Ipo-
ma batatas).
Jagatara-imo (Sola-
num tuberosum).
Nasubi (Solanum —
Melongena).
Hozuki = (Physalis
Alkekengi).
Kuri (Castanea vul-
garis, var. japo-
nica).
Myoga
Mioga).
Shoga (Zingiber
officinale).
T'sukune-imo (Dios-
corea batatas).
(Zingiber
Negi (Allium fis-
tulosum).
Tamanegi (Allium
porrum).
kara
B 5389 | Rakkyo (Allium B 595 | Photograph of
; Bakeri). school buildings. if
» . 040 | Satoimo (Colocasia io OMG ditto 2
antiquorum). pu ooy ditto 1 tablet
,» 041 |} Kuwait (Sagittaria a O08 ditto 4
sagittaefolia). ot US ditto 1
,, 542 | Tomorokoshi (Zea » 600 ditto 1
Mays). sy YEUL ditto 1
,, 043 | Takenoko (Bambusa OOS ditto pe
Sp.), young shoot. , 608 ditto 1
, 044 | Matsudake (Armil- , 604 ditto 1
laria Sp.). ,» 605 ditto 1
The objects, B. Nos. ,, 606 ditto 2
1-544, are such as were ow OOF ditto 5
exhibited by elementary 608 ditto 2
schools and _ collected "? ‘
by the Department of ” 609 ditto 1
Education. They are » 610 ditto 1
designed to show the , 611 ditto dk:
present condition of ele- 612 ditto 1
nentary schools. ‘i F
,, 613 ditto 1
545- 614 ditto Lex
a St (Withdrawn). % 615 ditto l
on Tools and Instru- , 616 ditto. . 1
at ments for Manual 617 ditto 1
PAE OE 29 ;
Training. » 618 ditto y Oa
2 :
0 oar (Withdrawn). 2 fee ;
» 985 | Photograph of s 621 ditto 1°
| school buildings. Ti, 622 ditto 1
Faeries) ditto El 5, 628 ditto 4.
Go DOL ditto 2] 624| Plan of school
by 088 ditto 1 buildings. 1
089 . ditto ol) Gos ditto ltablet
bes OO ditto 1}, 626 |(Withdrawn).
” 591 ditto 1 i
» 592 ditio 1 DRAWING BY PUPILS.
» O93 ditto 1 | ,. 6271 Pencil drawing. 1 vol. —
» 094 | 1 628 8 vols.
ditto
ditto
629 | Pencil drawing.
630
631
632
633
634.
635
636
637
638
639
640
G41
642
643
644
645
616
647
648
649
650
651
652
653
654
655
656
657
658
659
660a
6606
661
662
663
664.
665
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Brush drawing.
ditto
ditto
ditto
ditto
i
<_
eo)
om
~
On a ee ee ee
4
Sree He
—
™M
666
667
668
669
670
671
672
673
Brush drawing. 1 vol.
ditto I yg
ditto 2 vols.
ditto yee
ditto 1 vol. |
ditto peer:
ditto 1) 55
Inumesara (dish). 20
Hishigata-muké-tsu-
ke(small dish). 20
Water-pot. 2
Plate for meat. 6
Sugar-pot. 2
Coffee dish. 12
Keigata-mukitsuke
(dish). 20
Kiku-totte-futamono )
(dish with lid). 2
Plower-vase. 2
ditto 2
Sukashi-futamono
(dish with lid).
Gakusara (plate).
Flower-vase.
Large cup.
Censer for burning
incense, 2
(Withdrawn).
bo bo pp bp
SEWING BY PUPILS.
Elementary sewing. 15
ditto i
ditto ; 1
ditto ie
ditto 4
ditto 16
ditto 10
ditto 1
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
Elementary sewing. .
Furoshiki (cloth
used for wrapping).
ditto
Mayedare (a kind
-of apron).
ditto
ditto
ditto
_ ditto
ditto
ditto
ditto
ditto
ditto
ditto
Hakama-mayekake
(a kind of loose
trousers).
Muna-mayekake (a
kind of apron).
ditto .
ditto
Needle management.
Part sewing.
Sleeve and skirt
sewing.
ditto
ditto
ditto
Skirt sewing.
Yodarekake (bib).
ditto
ditto
ditto
ditto
ditto
oN ee Im bo
=r
NO oe oO oe OP NO NO NO NO SS)
715
716
717
718
719
720
721
722
723
724
725
726
727
728
129
730
731
132
733
734
739
Bag for luncheon box.
ditto
Zukin (hood).
ditto
ditto
ditto
ditto
ditto
Model of yuban (un-
der-garment) for |
ladies.
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Model of naga-ju-
ban (long under-
garment) for la-
dies.
Model of naga-juban
(long under-gar-
ment) for ladies.
Juban (under-gar-
ment) for gentle-
men.
ditto
Awasejuban (lined
under-garment)
for gentlemen.
Awase-naga-juban
(long lined un-
ee
bs no
740
741
742
743
744
745
746
747
‘748
749
750
751
752
758
754
155
756
757
758
759
760
der-garment) for
ladies.
Model of katabira
(thinnest summer
garment) for gen-
tlemen.
Part sewing of hito-
ye (summer gar-
ment).
Model of hitoye
(summer gar-
ment).
Model of katabira
(thinnest summer
garment).
Model — of
(summer
ment).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Model of katabira
(thinnest sum-
mer garment).
Model of _ hitoye
(summer gar-
ment).
ditto
ditto
ditto
ditto
hitoye
gar-
a ee
feed fk fk feel fed ek het oD
B
761
762
763
764
165
766
Model of hitoye
(summer gar-
ment).
ditto
ditto
ditto
Model of katabira
(thinnest summer
garment).
Model of
(summer
ment).
ditto
ditto
ditto
ditto
ditto
Model of katabira
(thinnest summer
garment).
Model of
(Summer
ment).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
hitoye
gar-
hitoye
gar-
Model : ofiyRavabiaan)
el en SO ei a
ret
21 |
(thinnest summer B 820 | Hitoye (summer
garment). 1 garment) for
B 788 ditto 1 children. 1
» 89} Model of hitoye ni OUL ditto 1
; (summer _—_gar- gi. 20a ditto 1
ment). kin 828 ditto 1
A C90 ditto 1|,, 824 ditto | 1
a (OL ditto 1 | ,, 825 | Aitoye (summer gar-
ye (D2 ditto 1 ment) for gentlemen. 1]
ies: 798 ditto 1] ,, 826 ditto 1
oy 194 ditto Lit: 607 ditto 1
MT OD ditto 1],, 828 ditto 1
a 796 ditto 1 | ,, 829 | Hiteye (summer gar-
, 797 | Hitoye (summer ment) for ladies. Bee
| garment) for Bae ditto 1
! children. dui (eee ditto L
5-798 ditto 1|),, 832 ditto 1
ey ese ditto 1 | ,, 8383 ditto rr
ee. S00 ditto 1] ,, 834 ditto 1
ys OL ditto 113,,° 886 ditto 1
» $802 ditto i 4 io ditto — 1
» 803 ditto cae so ditto 1
Beas O04 ditto 1|,, 888 ditto 1
» 905° ditto 1 i',, 839 ditto Ly
» 806 ditto 1/,, 840 ditto I
pe 807 ditto 1] ,, 841 | Model of awase
» 808 ditto 2 (lined garment). 1
Bs. S09 ditto 1|,, 842 ditto 1
» 810 ditto 1] ,, 843] ditto 1
et OLL ditto 1|,, 844 ditto 1
are 812 ditto 1|,, 846 — ditto 1
eng, OL3 ditto 1} ,, 846 ditto 1
» 814 ditto Libis Cai ditto £
ea S15 ditto Ah 848 ditto 1
ye O16 ditto 1] ,, 849 ditto 5 Ee
het 817 ditto 1] ,, 850 ditto 1
2 818 ditto AS % 851 ditto ld
819 ditto 1 ,, 852 ditto 1
22
B 858 | Model _ of
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
- 882
883
884
885
886
887
888
889
awase
(lined garment).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Oe te
890
$91
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
Model of awase
(lined garment).
ditto
ditto
ditto
ditto
ditto
ditto
Awase (lined gar-
ment) for child-
ren.
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Awase (lined gar-
ment) for gentle-
men.
ditto
ditto
ditto
Awase (lined gar-
ment) for ladies.
ol el el ll el oe el cel oe
fmt eek feet
sr: ‘
923 | Awase (lined gar-
924
925
926
927
928
929
930
931
932
933
934
935
936
937
— 938
939
940
941
942
943
944
945
946 -
947
948
949
950
951
952
953
954
955
956
957
ment) for ladies.
ditto
ditto
ditto
ditto
ditto
Model of wataire
(padded. gar-
ment).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto °
ditto
ditto
ditto
ee
Se le ee
B 958 | Model of
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
watatre
(padded gar-
ment).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Wataire (padded gar-
ment) for children.
ditto
ditto
ditto
ditto
ditto
Wataire
garment)
gentlemen.
ditto |
ditto
Wataire (padded gar-
ment) for ladies.
ditto
Model of
(coat).
ditto
Model of juban (un-
der-garment) for
gentleman.
ditto
ditto
ditto
(padded
for
haort
23
BREE DD eH eee eee
ee No ol ood
fei
ee
4
988
989
990
991
992
993
994
995
996
997
998
999
1000
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010»
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
— B 987 | Model of juban (un-
der-garment) for
gentlemen.
ditto
ditto
ditto
’ ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
- ditto
ditto
ditto °
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
a se nt cel ee ne ee ce Oc NO So oe
ie,
B 10238 | Model of juban (un-
der garment) for
gentlemen.
99
1024
1025
., L026
, 1027
1028
1029
10380
1031
10382
1035
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
ditto
ditto
ditto
ditto
ditto
Eaori
(coat)
children.
ditto
ditto
ditto
ditto
Haori (coat) for
gentlemen.
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Haori
ladies.
Haori
(coat)
(coat)
gentlemen.
ditto
ditto
Haor
ladies.
ditto
ditto
(coat)
for
for
for
for
ll lll alll atl oll
Fe et
B1051 | Model of hifu (a
kind of coat).
,, 1052 ditto
» 10538 ditto
», 1054 ditto
», L055 ditto
, 1056 | Mifu (a kind of
coat) for child-
ren.
,, 1057 | Model of hakama
: (a kind of trou-
sers).
,», 1058 ditto
,, L059 ditto
,, 1060 ditto
, 1061 ditto
, 1062 ditto
, 1063 ditto
_,, 1064 ditto
,, 1065 ditto
,, 1066 ditto
ory LO6T ditto
, 1068 | ditto
,, 1069 ditto
,, 1070 ditto
, 1071 ditto
» 1072 ditto
, 1073 ditto
,, 1074 ditto
, 1075 ditto
,, 1076 ditto
, 1077 ditto
, 1078 ditto
, 1079 ditto
, 1080 |. ditto
,, 1081 ditto
5, 1082 ditto
fmt et ee
Pa a Oe ee
B1083 | Model of hakama
9
(a kind of trou-
sers).
1084 | Hakama (a kind of
1085
1086
1087
1088
1089
1090
1091
1092
1093
1094
1095
1096
1097
1098
1099
1100
1101
1102
1103
1104
1105
1106
1107
1108
1109
1110
Pisa:
1112
1113
trousers) for
children.
ditto,
ditto
ditto
ditto
ditto
ditto
Hakama (a kind of
trousers) for
gentlemen.
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Model of obi (belt).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
eo
SN ee ee Oe ee ee ee ee ee en ee le
1139
1140
Obi (belt) for gen-
tlemen.
ditto
ditto
ditto
ditto
Obi (belt) for la-
dies.
ditto
ditto
ditto
Darned soles of
tabi (socks).
Tabi (socks).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Momohiki (a kind of
pautaloons).
ditto
ditto
ditto
ditto
Amaginu
proof
ladies.
Tsutsusode-hanten (a
kind of coat with
narrow sleeves).
Shirushi-banten (a
kind of coat for
servants).
Hanten (a kind of
coat).
(water-
coat) for
a bt ft et fe
ei ee ee oe
a
B 1141
», 1142
» 1148
», 1144
», 1145
,, 1146
paid
,, 1148
,, 1149
,, 1150
eB P59
5 J152
», 1158
» 1154
» 1155
,», 1156
», L157
3 L158
ge x
Kyahan (leggings).
Marudogi (padded
coat without
sleeves) for child-
ren.
ditto
Sodenashi (a kind of
quilted coat with-
out sleeves) for
children.
ditto
Model of
(cushion),
ditto
ditto
Model of yogi (quilt-
ed bed covering).
Model of shiki-buton
- (matress).
Maki-buton (a kind
of quilted bed
covering for in-
fants).
Pillow for children.
Model of pillow.
Model of kappa
(water-proof coat)
for ladies.
zabuton
Model of happi (man-
servant’s coat).
Model of momohiki
(a kind of pan-
taloons).
ditto
ditto
Model of kyahan
(leggings).
ao
a
| 27
_ B1160 | Model of harakake B1176 | Marukuke (round
| (cloth covering quilted belt for
tied over the children). 1
chest and abdo- Se PT ditto +
men). 1's; 1178 ditto 2
» 1161 | Model of kyahan as he) ditto 1
(leggings). 1 | ., 1180 | Model of shirt. 1
,, 1162 | Tabi (socks). Dt. V8 ditto 3
» 1163 | Model of a work- 7 1182 ditto 1
man’s garment. 4 |, 1183 | Model of trousers. 1
» 1164 | Tabi (socks). 1 | ,, 1184 | Shirt. 1
| ->; 1165 ditto 1] ,, 1185 ditto
|» 1166 | ditto 2/1186! — ditto 1
,, 1167 ditto - 1, 1187 | Model of hitoye
4268 ditto 1 (summer gar-
5,5 1169 | Model of sodenashi ment), and juban
(quilted coat (under - garment)
without sleeves) for gentlemen. 1
for children. 1}, 1188 | Model of hitoye
| a FLGO ditto 1 (summer gar-
~,, 1171 | Model of momohiki ment) and its
(a kind of pan- -part sewing. Sula
taloons). 1] 1189 | Model of wataire
» 1172 | Model of kyahan (padded garment)
(leggings). 1 and its part sew-
,, 1173 | Support (a kind of ing. 2
cloth covering ,, 1190 ditto 2
tied over the », 1191 | Model of naga-juban
chest and abdo- (long under-gar-
| men). 1 ment), wataire
» 1174 | Haramaki (cloth (padded gar-
covering tied over ment), and haori
| the chest and (coat) for child-
abdomen). t ren. 1
» 1175 | Model of harakake , 1192 | Model of wataire
oe yee Pre (padded garment) F
| chest and abdo- for gentlemen:
men) 1 1193 ditto 1
28
B1194
, 1195
3)
(Withdrawn).
Embroidery.
Ttchokusen-nui (a
kind of sewing).
T'suki-awase-nuimono
(a kind of sewing).
Oshi-nui (ditto).
Fukuro-nui (ditto).
Fuse-nui (ditto).
Kaeshi-nui (ditto).
Fuji-nut (ditto).
Patching of cotton
cloth.
Patching of
stuff,
Part sewing of shi-
totsumi~juban (un-
silk
der-garment for
children).
Shitotsumi-juban(un-
der-garment for
children).
Cutting of shito-
tsumi-juban (un-
der-garment for
children).
Hondachi-juban (un-
der-garment).
Cutting of hitoye-
hanten (summer
coat).
Hanten (a kind of
coat).
Cutting of kodachi-
litoye (summer
garment) for
children.
| Part sewing of koda-
14
a=
ee ee
chi-hitoye (sum-
mer garment for
children).
B 1196 | Kodachi-hitoye(sum-
mer garment for
children).
Awasebanten (a
kind of lined
coat).
Marukuke-himo (a
kind of quilted
belt).
Cutting of hondachi-
litoye (summer
garment for gen-
tlemen )}.
Part sewing of hon-
— dachi-hitoye (sum-
mer garment for
gentlemen).
Hondachi-hitoye
(summer garment
for gentlemen).
Cutting of awase-
naga-juban (long
lined under-gar-
ment).
Part sewing of awa-
se-naga-j uban
(long lined under-
garment).
Awase-naga-juban
(long lined un-
der-garment).
Kinchaku (purse).
Zukin (hood).
Cutting of kodachi-
awase (lined gar-
-B1197
ment for child-
ren).
Part sewing of ko- —
dachi-awase (lined
garment for
children).
Kodachi-awase (lin-
ed garment for
children).
Kodachi-wataire
(padded garment
for children).
Obi (belt) for gent-
lemen.
Obi (belt) for ladies.
Part sewing of hon-
dachi-awase (lined
garment for la-
dies).
Hondachi-awase (lin-
ed garment for
gentlemen).
Hondachi-wataire
(padded garment
for gentlemen).
Kyahan (leggings).
Tabi (socks).
Cutting of /hitoye-
haorit (summer
coat).
Part sewing of
hitoye-haort (sum-
mer coat).
Hitoye-haort
mer coat).
Cutting of awase-
haori (lined coat).
Part sewing of
(sum- :
B 1198 | Arvaseaori
awase-haori (lined
coat).
(lined
coat).
Wataire-haort (pad-
ded coat).
Cutting of hifu (a
kind of coat).
Hifu (a kind _of
- coat).
Cutting of hitoye-
hakama (a kind
of trousers for
summer use).
Hitoye-hakama = (a
kind of trousers
for summer use).
Harakake (cloth co-
vering tied over
the chest and
abdomen).
Momohiki (a kind of
pantaloons).
Cutting of yagu
(bed covering).
Yagu (bed cover-
ing).
Futon (matress).
Elementary sewing.
Tako-nui (a kind of
sewing).
Kaketsugi (ditto).
. Makuri-oshi-nua
(ditto).
Gushi-nur (ditto).
Sogi-sode-nut (ditto).
Hitoye-sode-nui
(sleeve sewing of
|
30
39
39
33
summer garment).
Mitsuori-nigyo-choku-
sen-nut. (a kind of
sewing).
Ichigyé-chokusen-nut
(ditto).
Kazoe-hari (ditto).
Heri-tori (ditto).
Mujiri-sode-nui (a
kind of sleeve
sewing).
Mayekake (a kind of
apron) for child-
ren.
Obi (belt) for child-
ren.
Embroidery.
Nukabukuro (bag for
keeping rice-bran,
used as Soap).
Harakake (cloth
covering tied over
the chest and
abdomen).
Fukuro-nui (a kind
of sewing).
Part sewing of hito-
ye (summer gar-
ment).
ditto
ditto
Embroidery.
Maru-obi (a kind of
belt) for children.
Mayekake (a kind of
apron) for ladies.
Mayedare (a kind of
apron) for children.
1
De He
B 1200 | Hitoye-sodenashi
39 39
3 29
99 39
3) 3?
» 1201
93 29
29 33
9 33
33 99
99 39
39 33
9? 39
99 3
9 2
»5 1202
(summer garment
without sleeves).
Hlitoye-juban (sum-
mer under-gar-
ment).
Mitoye (summer
garment) for
children.
Hitoye (summer
garment) for la-
dies.
Elementary sewing.
Embroidery.
Tsuma-age
folding).
Part sewing of awa-
sé (lined gar-
ment).
ditto
Part sewing of hito-
ye-haort (summer
coat).
Watatre-sodenashi
(padded garment
without sleeves).
Tsutsusode-awase
(lined coat with
narrow _ sleeves)
for children.
Hitoye (summer gar-
ment) for gentle-
men.
Awase (lined gar-
ment) for gentle-
men.
Elementary sewing.
Embroidery.
(skirt
31
39
Patching.
Eguri-tsugt (a kind
of patching).
Part sewing of awa-
se-haori (lined
coat).
ditto
Part sewing of wata-
ire (padded coat).
ditto
ditto
Zukin (hood).
Awase-haori (lined
coat).
Wataire (padded
garment) for la-
dies.
Elementary sewing.
Embroidery.
Tali (socks).
Kamenoko-wvagi (a
kind of garment).
Yodare-kake (bib).
Belt for ladies.
Hara-awase (a kind
of belt for ladies).
Natsu-haort (sum-
mer coat).
Wataire-haort (pad-
ded coat).
Makura (pillow).
Shikifuton (mat-
ress).
Elementary sewing.
Awase-haort (lined
coat).
Hifu (a kind of
coat).
1 | B1204 | Shikake-takabakama
1
Se
Se ee
i
(a kind of trou-
sers used on
ceremonial occa-
sions.)
Kyahan (leggings).
Haramaki = (armor
for the abdomen).
Momohiki (a kind of
pantaloons).
Fumikomi-hakama
(a kind of trou-
sers).
Yogi (bed covering).
Elementary sewing.
MANUAL WORK BY PUPILS.
Small bag.
Hagoita (battledoor)
with hane (shut-
tlecock).
Small bag.
ditto
ditto
Kinchaku (purse).
ditto
Small bag.
Kinchaku (purse).
ditto
ditto
Small bag.
Bag.
Photograph holder.
Horse (toy).
Cat (toy).
Bag (doll).
Bag (mandarin
duck).
1
Oe ee
a
—
Photograph holder.
Letters in relief (Ja-
panese alpha-
bet).
Ornamental hair pin.
Aiji-buton (round
cushion for resting
elbow).
ditto
ditto
Yodare-kake (bib).
Yqi-sashi —_ (tooth-
pick holder). —
Box ornamented
with various fig-
ures.
Box with raised
pictures.
Bag —_ ornamented
with various fig-
ures.
Zukin (hood):
Kinchaku (purse).
ditto
ditto
ditto
ditto
ditto
ditto
ditto
Mamori-bukuro (bag
of charms).
Kami-ire (Wallet
for paper).
Kinchaku (purse).
Bag ornamented
with raised pic-
tures.
te bo rR bd
a ee No
—
bo
Zukin (hood).
ditto
Yodurekake (bib).
Tali (socks)
children.
Katakake (shawl).
Kinchaku (purse).
ditto
Hiji-buton (cushion
for resting elbow).
Cap for children.
ditto
ditto
Small bag.
ditto
Kinchaku (purse).
Cushion for flower-
vase.
Yodarekake (bib).
ditto
Bag.
Yodare-kake (bib).
for
Cushion for flower- ©
vase.
Yodare-kake (bib).
Hiji-tsuki (cushion
for resting elbow).
Kinchaku (purse).
Yodare-kake (bib).
Cushion for flower-
vase.
ditto
Gloves:
Stockings.
ditto
Tabi (socks)
children.
Stockings.
for
%
33
B1277 | Stockings. 1 | B1313 | Embroidery. 2
», 1278 | Myaku-dome (a kind » 1314 ditto 2
of cuffs). 1 pair] ,, 1315 ditto f
, 1279 ditto 1 | ,, 1316 ditto 1
», 1280 ditto beihy, SSEG ditto 9
,, 1281 | Gloves. 1 | ,, 13818 ditto E
», 1282 ditto 1 | 5, beED ditto 5
,, 1283 | Hood for children. — 1 | ,, 1820 ditto 2
,, 1284 | Dégi (short under-gar- »5 13821 ditto 2
ment) for children. 1 | ,, 1822 ditto te
», 1285 | Hand ball. 2 || ,, 1823 ditto 1
, 1286 ditto 4 || ,, 1824 ditto 1
od 267 ditto 1 || ,, 1825 ditto 2
» 1288 ditto 4 | ,, 1826 ditto 1
5, 1289 ditto pi erage BY ditto 1
90 ditto 5 | 5, .1328 ditto 2
4 1291 ditto 2]; ,, 1829 ditto 2
» 1292 ditto Zi 5, 18380 ditto vi
» 1293 ditto 1 | ,, 1881 | Harakake (cloth cover-
j, 1294 ditto 2 ing tied over the
», 1295 | Embroidery. 5 chest and abdomen). 1
», 1296 ditto 12 | ,, 18382 ditts 1
,, 1297 ditto 4 | ,, 1833 | Yodare-kake (bib). if
» 1298 ditto 1 | ,, 1834 | Yubihame (thimble). 7
me 438) ditto 5 | » 1835 | Gord twisting. J
, 1300 ditto 20 || ,, 13836 ditto 1
,, 1301 ditto 5 | », 1837 ditto 1
3 £302 ditto 1 | ,, 1838 ditto 16
, 1803 ditto 2 | ,, 1839 | Child’s crest. ul
», 1304 ditto 1 | ,, 1840 | Box with raised
» 1805 ditto 5 pictures. 1
sp LoO6 ditto 1 | ,, 1341 Oshiye (raised fancy
4, 1807 ditto 3 _ work), I
, 1808 ditto 14 | ,, 1342 ditto 1
» 1809 ditto if
», 1310 ditto 2 HANDIWORK BY PUPILS.
Br toll ditto 3 | ,, 1848 | Hasii (chopsticks). 4
», 1812 ditto 10 Hishaku (a kind of
”
ladle).
Saji (spoon).
Ruler.
Wood for engraving.
Wooden card.
Itomaki (a piece of
wood for winding
thread on).
Elementary tin
work.
ditto
Sara (plate).
Box for keeping
bird’s food.
Jogo (funnel).
Chashaku (tea-ladle).
Kirifuki — (instru-
ment for sprinkl-
ing water).
Chatsubo (tea-box).
Abura-tsubo (oil
box),
Soap-box.
Joro (watering pot).
Elementary brass
work.
Saji (spoon).
Shoeing-horn.
Elementary iron
work.
Nails.
Bent nails.
Hibashi (a kind of
tongs).
Ruler.
Hikaki (fire shovel).
Wood for engrav-
ing. '
boo bw Or bo
Hagata (battle-
door).
Shiort (book-mark).
Mould for making
susht —_ (vinegar-_
rice).
Box for keeping
visiting cards.
Hashira-kake (board
hung against the
pillars of a house
to hide them).
Small box.
Chiyegi (a kind of
toy).
Block.
Hishaku (a kind of
ladle).
Holder for visiting
cards.
Sumni-hasami — (In-
dian-ink holder).
Hashi (chopsticks).
Paper box.
Geometrical fig-
ures.
Note-book.
Noshi (a piece of
folded paper at-
tached to a pre-
sent).
14 | Note-book.
Envelope.
Maki-gami __— (letter-
paper).
Keishi (ruled pa-
per).
Kanzenyori | (string
a
bo
| f 35
made of two winding thread
| strands of twisted on). I
: paper). 1 | B1876 | Ttowaku (frame for
B 1359 | Koyori (twisted pa- winding thread
per). 1 on). 1
4, 1860 | Straight embroi- ,», 1877 | Flower-vase stand. 1
dery. 1 | ,, 1878 | Nori-cta (board for
,, 1861 | Curved embroidery. 1 making paste on). i
_ ,, 1362 | Embroidery repre- ,, 1879 | Okidai (stand). 1
| senting Mt. Fuji, ,, 1880 | Fude-tate (box for
cloud, and ship. it resting writing-
» 1363 | Straight and curved brushes). 1
embroidery. 2} ,, 1881 | Shiort (book-mark). Mi
», 1864 | Embroidery repre- », 1882 | Letter holder. 1
senting Mt. Fuji, », 1383 | Hishaku (ladle). A
cloud, and horse. 1 |, 1884 | Hera (a kind of
», 1865 | Chiritori (a kind of spatula). 1
dust pan). 1 | ,, 1885 | Geometrical fig-
» 1866 | Kettle lid. fh ures. 6
» 1867 | Ruler. 1 | ,, 1886 | Square pillar. 1
» 1868 | Suzuri-bako (box in », 1387 | (Withdrawn).
which — writing », 1388 | Hashi (chopsticks). 1
utensils are kept). 1 | ,, 1889 | Uwo-gushi (skewer
» 1869 | Book holder. if for roasting fish). 1
” 1370 | Box. 2 5 1390 Compass. L
» 1871 | Tabako-bon (box in » 1891 | Hai-kaki (instru-
| which smoking ment for leveling
utensils are kept). 1 ashes). 1
| » 13872 | Manaita (board for », 1892 | Spoon. 1
| cutting and cleans- ,» 1893 | (Withdrawn).
ing culinary ,, 1894 | Nori-ita (board for
| materials). 1 | making paste on). 1
» 1373 | Kendai (book-rest). 1 | ,, 1895 | Ruler. 1
» 1374 | Tokuri-no-hakama ,, 1896 | Hagoita (battle-
(shallow box in door). 1
which a bottle is , 13897 | Box for keeping
placed). | iL _ chalk. 1
» 1875 | Odamaki (frame for ,», 1898 | Suzuri-bako (box in
36
—B1899
», 1400
» 1401
1402
», 1403
,, 1404
», 1405
», 1406
» 1407
,, 1408
. », 1409
,, 1410
» 1411
5, 1412
», 1413
» 1414
which writing
utensils are kept).
Hibachi (box for
keeping fire for
warming pur-
poses).
Chiri-tori (a kind of
dust pan).
Mugiwara-sanada
(piece of knitted
straw).
Zori (straw sandals).
Fude-dzutsu (box for
resting writing
brushes).
Chashi (one of the
instruments for
preparing tea.)
Suzuri-bako (box in
which writing
utensils are kept).
Chiritori (a kind of
of dust pan).
Piece of wood for
supporting table.
Tsukegi-bako (box
for keeping Ja-
panese matches).
Kama-shiki (kettle
stand).
Bokake (hat-rack).
Piece of bamboo
projecting from a
hat-rack.
Yqi-ire (tooth-pick
holder).
Block.
Sashigi (jointed
1 | B1415
=
bo
39
39
wood).
Magonote (piece of
bamboo used for ~
scratching the
back with).
Monosashi (measure).
Hai-uchi (fly-beater).
Bow and arrows.
Do (a kind of bow).
Mame-deppo(toy gun
with pea balls).
Itomaki (thread
spool).
Take-goma (bamboo
top).
Hera (a kind of
spatula).
Amibari (needle for
knitting).
Take-tombo (bamboo
dragon-fly).
Lamp-suspender.
Stand for box in
which boiled rice
is kept.
Emon-kake (frame
for hanging gar-
ments).
Chahishaku (tea-
ladle).
Hishaku (a kind of
ladle).
Nikugushi (skewer
for roasting flesh.)
Dobin-sliki (tea-pot
stand).
Yoji-ire (tooth-pick
holder).
,, 1485
», 1436
», 1487
»» 1488
»» 1439
» 1440
» 1441
», 1442
ides,
Tokuri-no-hakama
(shallow box in
which a bottle is
placed).
Chashi (one of the
instruments used
for preparing
tea).
Menrwi-age (piece of
bamboo for dip-
ping boiled buck-
wheat, etc.).
Hashi-ire (box for
keeping chop-
sticks).
Various kinds of
hashi (chop-
sticks).
Various kinds of
sticks.
Various kinds of
kushi (skewers).
Josashi (letter-hold-
er).
Visiting card hold-
er.
Frame for resting
Indian-ink.
Indian-ink holder.
Frame for resting
writing brushes.
Ink-stone screen.
Box for resting
writing brushes.
Kiseru-zutsu (box
used for the smok-
ing pipe).
Compass.
B 1450 | Ruler.
99
39
39
39
99
es]
3)
1451
1466
Shokudat
stick).
Uchiwa-kake (piece:
of bamboo for
the insertion of
round fans).
Newspaper holder.
Cha-zutsu (tea box).
Hagaki-ire (box for
keeping _ postal
cards).
Photograph holder.
Tanzaku-hasamti
(holder of paper
on which Japan-
ese poetry is
written). |
Teshoku
lamp).
Bamboo frame for
fan.
Hainarashi (instru-
ment for leveling
ashes).
Bishikake (hat-rack).
Mukidai (a kind of
stand).
Tenugui-kake (frame
for hanging tow-
els, towel horse).
Tombo (bamboo dra-
gon-fly).
Take-uma (bamboo
horse, a kind of
stilts used by
boys).
Hashi (chopsticks).
(candle-
(hand
me poe
bo
Uwo-gushi (skewer
for roasting fish.)
Shésetsu-goma (top).
Hera (a kind of
spatula).
Tsuye (cane).
Hishaku (a kind
of ladle).
Mizuire (water-pot).
Mikuji-zutsu (box
for keeping the
divining sticks
used in temples
to learn the mind
of the gods).
Fude-tate (box for
resting writing-
brushes).
Compass.
Sumi-hasami — (In-
dian-ink holder).
Saji (spoon).
Shoe-rubber.
Muchi-goma (top).
Dobin-dai (tea-ket-
tle stand).
Chawanfuta (cover
of tea-cup).
Kamiori-zaiku (paper
folding).
Honbasami
holder).
Nori-ita (board for
(book
making paste on).
Harisashi (needle
holder).
Triangle,
Square.
ae
Octangle.
Ruler.
Box for keeping
seeds.
Post box.
Ruler.
Hexagonal pillar.
Hane (shuttlecock).
Jobukuro (enve-
lope).
Techo (note book),
Square pillar.
Triangular pillar.
Box.
Cut crest.
Geometrical figure.
ditto
ditto
Mill for grinding
rice,
Anka (small fire box).
| Tako (kite).
Board on which
drawing is done.
Kwashi-bon (tray
for putting cakes
on).
Chabon (tea-tray).
Bon (tray).
Chabon (tea-tray).
Kwashi-ire (box for.
putting cakes in).
Chabon (tea-tray).
Kwashi-wre (box
for putting cakes
in).
Chabon (tea-tray).
ditto
eet — 4
_ ee en De pe eS
_
—
—_
ee ee.
1531
Chabon (tea-tray).
Kwashi-ire (box for
putting cakes in).
Chabon (tea-tray).
Kwashi-ire (box
for putting cakes
in).
ditto
Chabon (tea-tray).
Bon (tray).
Kwashi-ire (box for
putting cakes in).
(Withdrawn).
Zori (straw sandals).
Subo-hoki (a kind
of broom).
(Withdrawn).
ft et ft ft
APPRATUS OF TEACHING.
Apparatus for easy
experiments in
Physics.
Apparatus for ' the
computation of
numbers.
Chart for instruc-
tion in sewing.
Chart for instruc-
tion in abacus
arithmetic.
Apparatus for the
computation of
numbers.
Apparatus for ex-
plaining the value
of each bead in
the abacus.
1 set
yy 1537
4 1545
Apparatus for in-
struction in the
upper beads. 1
Apparatus for in-
struction in the
lower beads. 1
Large abacus for
use in the school
room. 1
Apparatus for the
computation of
numbers. 1
Black-board. 1
(Withdrawn). .
Chart relating to
morals. 5
(Withdrawn).
Apparatus for teach-
ing arithmetic. 1
Weights, measures,
and coins. 5
Small abacus. 1
Paper slate. 1
Writing brush, In-
dian-ink, ink-
stone, and copy
book. 12
(Withdrawn).
Models of desk and
chair for pupil’s
use. 2
(Withdrawn).
Apparatus for teach-
ing object —les-
sons. 1 case
(Withdrawn).
39
i
40
B1556 | Apparatus for in-
struction in the
Japanese sylla-
bary. _
5, 1557 | Apparatus for in-
struction in frac-
GROUP 149,
tions.
| B 1558 | (Withdrawn).
», 1559 | Chart showing
grammatical er-
rors.
CLASS 843,
KYORITSU JOSHI SHOKUGYOGAKKO.
(Private Female Industrial School.)
WORK BY PUPILS.
Embroidered — tsai-
tate (screen of
one leaf set in a
frame).
ditto
Embroidered chair-
cloth.
ditto
ditto
ditto
ditto
ditto
Handkerchiefs.
ditto
ditto
ditto
» 13 Artificial flower
(plum blossoms).
ditto (kaidé, Pyxus
spectavilis).
fmt fet
Danae See pe
—
C 15 | Artificial flower
(kirishima, a
species of red
azalea).
Ditto (nanten, Nan-
dina domestica).
Ditto (sakura, cherry
blossoms).
Ditto (bara, rose).
Ditto jinchike, Da-
phne odora).
Ditto ( Yukinoshita,
Saxifraga — sar-
mentosa).
Ditto (ito-giku, a
species of chry-
santhemum).
Ditto (akigiku, a
species of chry-
santhemum).
got ate
aie! 2
a:
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
Artificial
(tsubaki, Camellia
japonica).
Ditto (botan, Peonia
Moutan).
Ditto (kogiku, a spe-
cies of chrysan-
themum).
Ditto (sakura, Pru-
nus pseudo-cera-
sus).
Ditto (sumire, vio-
let).
Ditto (momii, ma-
ple).
Drawing (tablet).
Ditto
Ditto (volume).
Ditto (round fan).
Ditto (ditto)
Ditto (ditto)
Ditto (ditto)
Ditto (ditto)
Ditto (ditto)
Ditto (fan that
opens and shuts).
Ditto (ditto)
Ditto (ditto)
flower
Se OE ee ee ee ee
Lf fe
41
42
43
Ad.
45
46
aT
48
49
50
51
52
53
54
Drawing (fan that
opens and shuts).
‘Ditto (ditto)
Ditto (ditto)
Ditto (photograph
holder).
Ditto (ditto)
Ditto (ditto)
Ditto (ditto)
Ditto (ditto)
Ditto (ditto)
Ditto (handkerchief).
Model of gentle-
man’s dress,
Model
of lady’s
dress. |
Model of young un-
married _lady’s
dress.
Model of girl’s
dress,
Model of child’s
winter dress.
Model of merchant's
summer dress.
Model of farmer’s
dress.
41
eS
a
1
i,
1
rc!
1
1
2
1
1 set.
Lig
42
We)
IWATE JOGAKKO.
(Private Female School in the Prefecture of Iwate.)
WORK BY PUPILS.
Artificial flower
(bara, rose).
Ditto (itogiku, a
species of chry-
santhemum).
Ditto (sakura, cher-
ry blossoms).
Ditto (bara, rose).
Ditto (kiku, chrysan-
themum). |
Ditto (sakura, cherry
blossoms).
Cushion for lamp.
ditto
Tabi (socks for
children).
Boshi (cap for child-
ren).
Ayji-buton (cushion
for resting el-
bow).
Hand bag.
Yodare-kake (bib).
Kinchaku (purse).
Cushion for lamp.
Model of haori
(coat) for ladies.
Hakama (a kind
of trousers) for
ladies. '
Hakama (a kind
of trousers).
Awase (lined gar-
ment) for gentle-
men.
Aiitoye (summer
coat) for ladies.
Wataire (padded
garment) for girls.
SHOKE JOGAKKO.
(Private Female School in the Prefecture of Kumamoto.)
Photograph of pu-
pils at work.
Raw silk made by
pupils.
a
ee
GROUP 149, CLASS 849.
TOKYO BLIND AND DUMB
SCHOOL.
14
15
| Photograph of D 16 | Specimen of raised
school buildings. 1 letters.
Photograph of , 17 | Abacus for the
teachers and blind.
pupils. 1] ,, 18 | Professor Currier’s
Photograph of the duplex ear tube,
school. 1 consisting of two
Calendar. 100 tubes united in
Blank paper. 1 one ear-tube.
Wooden point let- » 19 | Instrument for de-
ters. 1 termining sound.
ditto (for exercise). 1 | ,, 20 | Chart for teaching
Paper point letters. hi articulation.
Tools for making
point letters. 1 WORK BY PUPILS.
Tablet for engrav- ,» ZL | Drawing.
ing. Bib = ditto
Raised wooden let- Je - Oe ditto
ters. OD Wivge tee ditto
Raised paper let- aad ditto
ters. 3, 26 | Engraving.
Slate for writing 5 Mine ditto
- exercises, cS es ditto
Chart for explain- yc eae ditto
ing point let- _ “ee ditto
ters. P4b 50 oh ditto
Specimens of point so Pe ditto
letters. se re ditto
Letters made with ggocm vee ditto
needles. ime ditto
ee ee el le
36 | Engraving.
37 ditto.
38 ditto
39a} Joinery.
39D ditto
40 ditto
41 | Juban (under-gar-
ment).
42 | Shitag: (under-gar-
ment).
43 | Wataire (padded
garment).
44 | Hitoye (summer
garment).
45 | Obi (belt).
46 | Haori (coat).
47 | Hakama (a kind of
48
61
62
63
64
_ trousers).
Tabi (socks).
50
Yodare-kake (bib).
Harakake
covering tied over
the chest and
abdomen).
Cap.
Shawl. :
Yodare-kake (bib).
Gloves.
Dogi (short under-
garment for gen-
tlemen).
Stockings.
Cushion for flower-
vase.
Doll.
Kinchaku (purse for
children).
Bag for luncheon
box.
KYOTO MO-A IN.
(Blind and Dumb Institute in the City of Kyéto.)
Drawing by pupils.
ditto
ditto
Gold and __ silver
needles for acu-
puncture, and
drawings of the
practice of acu-
puncture and
music(one tablet).
pat Se aS
1
Acupuncture is the art of
curing nervous diseases
by introducing needles
specially made for the
purpose into the tis-
sues. Asa profession it
is almost monopolized
by the blind. The
gold and silver need-
les exhibited are those
in practical use.
(cloth
a
ee) hous.
me owoeaon co OH
ted
13
14
D_ 67 | Calendar
of. the |
institute. 1
re th oS 06g —0 pe gedeg
CLASS 851.
ORDINARY MIDDLE SCHOOLS.
ee ee
Embroidery by pu-
pils. 2
Treatise on acu-
puncture. 1
GROUP 149.
Photograph of
school build-
ings. 1 tablet.
WORK BY PUPILS.
- Examination pa-
pers. 10
ditto 20
ditto 13
ditto 5
ditto 4
ditto 5
ditto 16
ditto 1
Brush drawing. 1
ditto 1 volume
DRAWING BY PUPILS.
Pencil drawing. 2
ditto 1
Instrumental draw-
ing. at
ditto 2
Map showing the
17
18
19
20
21
22
23
24
25
26
\27
sites of various
schools in Japan.
Map of Japan.
ditto
Map of the World.
Map of Japan.
Map of Japan.
Map of the World.
Door HE Hee
TEXT-BOOKS.
“Rongo” (Chinese
classics). 4 vols.
“ Dai-gaku ” (ditto). 1 vol.
“Chiy6” (ditto) 1
“NichiyO Bunkan”
(a kind of letter-
writer), by Kona-
kamura and
Nakamura. 2 vols.
“ Nihon-bun-san ”
(Guide to the
Japanese Langu-
age), by K. Kume. 3 ,,
”
46
28
29
30
31
36
37
* Wabun Kihan ” (a
work relating to
Japanese Litera-
ture), by G. Sa-
tomi.
“ Juhasshiryaku ”
(a kind of Chinese
History).
“Sei Bunsho Ki-
han” (a work
relating to Chi-
nese Literature).
“ Hachidaikabun ”
(Selection of Chi-
nese Masterpie-
ces). ‘.
“Moshi” (Chinese
Classics). (4
“Junshi” (Chinese
Classics). 2
“ Chiri-kyokwasho ”
(Geography). 2
“Nihon Bunmei
Shiryaku” (His-
tory of Japanese
Civilisation), com-
piled in the
Department of
Education. A od
“Nihon Shiko (Jap-
anese History),
by S. Saga. 2
“Sanjutsu. Chuto
Kyékwasho” (Arith-
metic intended
for Middle Class
Education) by K.
Nagasawa. 3
4 vols.
L325
x35
Jy,
38
39
40
4]
42.
43
44
45
46
Smith’s Algebra,
translated by B.
Sakuma.
“ Heimen
gaku”
Geometry), by
Dr. D. Kikuchi. 1 vol.
“ Rittai Kikagaku ”
(Solid Geomet-
ry), by Dr. D.
Kikuchi. 1a
“ Futst Shoku-
butsugaku Kyo-
kwasho” (Hle-
mentary Botany),
by M. Miyoshi.
“ Kobutsugaku” (Mi-
neralogy), by the
Keigyosha. i ee
“Futsa Dobutsu-
gaku Kydkwa-
sho” (Elementary
Zoology), by K.
Tijima. 1a
“Futsa Seirigaku
Kyokwasho ”
(Elementary Phy-
siology), by M.
Katayama. 1.4
2 vol
Kika-
(Plane
“ Butsurigaku Kyo-
kwasho” (Phy-
sics), by K.
Kikuchi.
Remsen’s Chemis-
try, translated by
Kuhara and |
Orita. 2 em
2 vola
47
E 47 | “ Kai-gyo-s6” (Co- , 63 | Plan of school
py-book), by Ry6- buildings. |
ko. 3 vols. ,, 64 ditto 1
» 48] “*Shogaku Shiga- » 69 ditto 1
cho” (Elemen- » 66 ditto 1
ee WORK BY PUPILS.
compiled by the
Department of _|,, 67| Pencil Drawing. 4 vols.
Education. Safer 68 ditto 4 5,
, 49 | « Yoki-gako ” a 69 ditto 1 vol.
(Mechanical Draw- - » 70 ; re 2 vols.
ing), by S. Hirose. 6 ,, | ” a avo a»
50 | Enclish Reader. 1 ee ditto 1 vol.
: BS x Re ee 2 ee ditto 7 vols.
eee ak E 74 | Pencil Drawing. 2 vols.
OL Illustrious Men, by ari ditto Di iy,
J. Sugiura. aa? | hea 3 ditto 1 vol.
» 92] Catalogue of text- ae ditto 3 vols.
books. 1... 98 ditto 1 vol.
53- ‘ és ditto 1
” W thd ‘ 99 : ”
pap oe thdrawn) , 80 ditto Los
, 69 | Photograph
school buildings. if. MATTERS FOR REFERENCE
.. Ol ditto 1] g1 | Drawing of arche-
5 “G2 ditto a ologicalspecimens. 4
et eel eth a eh et — te ee
FEMALE SCHOOLS.
Photograph of a Oe ditto 2 vols.
Or 82 school buldings. Li) | -8g6 ditto Ai oe
WORK BY PUPILS. English Composi-
» 83 | Brush Drawing 6 tablets tion and Wri-
5 @& 84 ditto TS “et ee Bt ting. 1 vol.
48
3
88
89
90
91
92
93
94
95
96
97
98 |
99
100
SEWING BY PUPILS.
Model of juban
(under-garment)
for gentlemen.
Model of juban
(under-garment)
for ladies.
Model of hitoye
(summer gar-
ment) for ladies.
Model of avwase
(lined garment)
for ladies.
Model of
(lined garment)
for gentlemen.
Model of wataire
(padded garment)
for children.
Model of wataire
(padded garment)
for children.
Model of watatre
(padded garment)
for children.
Hifu (a kind of
coat).
Model of hakama (a
kind of trousers)
for gentlemen.
Model of hakama
(a kind of trou-
sers) for ladies.
Katabira (thinnest
summer garment).
Hitoye (summer gar-
ment).
awase
3 |
99
101
102
103
104
105
106
107
108
109
x ED
111
112
118
114
115
Awase (lined gar-
ment).
Wataire (padded
garment.)
Kosode (padded
silk garment) for
ladies.
Moyo-kosode (padded
silk garment with
embroidered _ fi-
gures).
Kosode (padded silk
garment) for
gentlemen.
Natsu-baort (sum-
mer coat) for
gentlemen.
Wataire-baori (pad-
ded coat) for
gentlemen.
Awase-baori (lined
coat) for ladies.
ditto
Wataire-maru-dégi
(padded under-
garment without
sleeves).
Awase-bakama (a
kind of lined
trousers) for
children.
Hitoye-bakama (a
kind of summer
trousers).
Obi (belt) for gentle-
men * |
Obi (belt) for ladies.
ditto
=
129
130
131
132
133
134
135
136
FEMALE SCHOOLS.
Under-garment for
children.
Shirt and trousers.
European garment
for children.
Han-momohiki (short
trousers).
Tabi (socks).
Nukabukuro (bag for
rice-bran, used as
Soap).
Zokin (house-cloth).
Zukin (hood).
Hitoye (summer gar-
ment) for children.
Hitoye (summer gar-
ment) for ladies.
Awase (lined gar-
ment) for children.
Awase (lined gar-
ment) for ladies.
Wataire (padded
garment).
Mitoye-haori
mer coat)
gentlemen.
Awase-haort (lined
coat) for children.
ditto
(sum-
for
Aifu (a kind of
coat).
Hakama (a kind of
trousers).
Momohiki (a kind of
pantaloons).
Tabi (socks).
Model of wbuginu
=
or)
aa |
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
(garment worn by
a new born infant). 1 suit
Model of obi (belt)
for ladies.
Woolen cloth.
49
1
3
HANDIWORK BY PUPILS.
Bag.
Tablet of woolen
cloth (ship).
Muff.
Stockings.
Socks for children.
Slippers.
Zukin (hood).
‘ Shawl.
Yodare-kake (bib).
Cushion for flower-
vase.
Gloves.
Garment for child- -
ren.
Hand bag.
Small bag.
Fukusa (cloth used
for covering).
Oshiye (raised fancy
work).
Embroidery.
Bag.
Box with raised fig-
ures.
Photograph holder.
Fukusa (cloth used
for covering).
ditto
ditto
Mamori-bukuro (bag
of charms).
1
OD et OD eS ot
EE ee ee ee ee eS See
166
173
174
175
178
179
180
E 183
Sa
184
Fukusa (cloth used
for covering). 1
Woolen work. 1
APPARATUS OF TEACHING.
Pictures illustrating
Japanese Etiquet-
te, &e. 1 vol.
Copy-book for
Drawing. 6 vols.
E 167
ety (ite:
9 168
eo
2)
pegs
Brush for Drawing.
ditto
Plates for dissolv-
ing paint.
Dish for washing
brushes.
Paints.
Instrument for
oshiye (raised
fancy work).
FIRST HIGHER MIDDLE SCHOOL.
ee te
Calendar. 3 vols.
Compositions by
pupils. 2
Plan of school
buildings. 1
E 176 | Drawing of school
buildings.
» 177 | Photograph of in-
structors, pupils,
and class rooms.
SECOND HIGHER MIDDLE SCHOOL.
ee
Calendar. 5 vols.
Compositions. ce
Drawing. 30
E 181
, 182
Statistical table.
Photograph of
school buildings.
THIRD HIGHER MIDDLE SCHOOL.”
—_—_——— ___
Translation (Japan-
ese into English.) 2 vols.
English Composi-
EK 185
tions.
Photograph of
school buildings.
2. vols,
7
a
51
FOURTH HIGHER MIDDLE SCHOOL.
EK 186 | Compositions. 1 vol.
, 187 | Examination papers
in German. oe
» 188 | Examination papers
on Mathematics. 1 ,,
E 189 | Free-hand drawing. 1
» 190 | Botanical speci-
mens. 6
» 191 | Photograph of
school buildings. 3
MEDICAL DEPARTMENT OF THE FOURTH HIGHER
MIDDLE SCHOOL.
ca nn
E 192 | Table showing the
number of pa-
tients.
, 193 | Straw bandage,
with a book of
explanation in
English. 1 case
E 194a| Drawing of the
Hospital attached
to the Medical
Department. 2
», 1946) Instrumental Draw-
ing. 1
FIFTH HIGHER MIDDLE SCHOOL.
E 195 ) Ovidistoma pulmonae EK 199 | Embryo hominis. 1 ease
cerebri. 1 casel| ,, 200 | Ovi distoma endemic
» 196 | Embryo archylostom hepatic. 5 cases
cluodenal. 1,, |,, 201 | Photograph of
» 197 | Preparat of testicle. 1 ,, school buildings. 5
», 198 | Flatten epithel. is |
52
99
F
YAMAGUCHI HIGHER MIDDLE SCHOOL.
202 | English Composi-
: tions. 1 vol.
203 | German Composi-
tions. Pes.
204 | Examination papers
on Mathematics. 6 vols.
205 | Report on Pract-
7, (a00
Mei 14
», 208
Anr209
ical Experiments
in Physics. 1 vol.
Drawing. oe
ditto (7
Calendar. 1
Photograph of
school buildings. 1
TN 000
GROUP 149, CLASS 851.
IMPERIAL UNIVERSITY.
COLLEGE OF ENGINEERING.
1.{ Model of a propos-
ed design for
one of the three
Pumping Stations
of the Tokyo
Waterworks. 1
Four sets of engines and pumps
in each station engine, with one
high pressure cylinder and two
low pressure cylinders.
Dia. of high pressure cylinder
eee Gee ar ee 2! 0”
Dia. of low pressure cylinder
+BY nis iit eects A ee
PINES aio 50 dsl ar totes ube 2! 6”
Dia. of the pumps ..., 1’ 63!"
Maximum quantity of water
pumped by three sets of
engineés,,........ 34.7 cub.
ft. per sec.
Head pumped against different
| at each station, from 75 ft. to 116
ft.
(Design could be easily modi-
fied to tri-compound, if prefer-
red).
The engines are of vertical
marine type acting directly on
the pumps with shaft and fly-
wheel to regulate the motion.
The pumps deliver directly
into the service main.
All cylinders provided with
variable expansion gear regulated
automatically by the pressure in
the main.
Designed by a graduate of the
Engineering College, Imperial
University, Japan.
EF 2,
|
if
eg
33 4
Model made by the pattern
makers in the College work-shop. |
Model of tea-room,
Myoki-an, Yama-
zaki, + of natural
size. i
This is a model of the Myoki-
an, a tea-room at Yamazaki, a
wooden structure, scale 1 full
size. It is an exact copy of the
Myoki-an. The model was built,
July 1892, by a native carpenter,
superintended by Keikichi Ishii,
Assistant Professor, Engineering
‘College, Imperial University, un-
der the direction of Kingo Tatsu-
no, Professor. The model is cut
right vertically into two, in order
to expose theinside view. Some
extra fixings are made to support
the cut halves firmly. The Myo-
ki-an represented by this model
stands near a Buddhist temple at
Oyamazaki in the district of Ya-
mashiro. It is noted for having
been owned by Rikyt, a priest,
who was the founder of the
tea-entertainment (cha-no-yu).
Moreover, it is renowned for the
fact that the Taiko, Toyotomi
Hideyoshi, once visited it.
Graduation Essays
' and Drawings by
students of Civil
Engineering for
the last three
consecutive years. 1
Model, vertical sec-
tion, and repro-
duction of decora-
tive coloring of
the Gojii-no-to,
53
WNikKG, ~- Ao. “oF
natural size. 1
This is a model of the Goju-
no-td6, or the five storied tower,
at Nikko, Japan. It is a timber
structure, like the real one. It
is exactly of the same size as the
drawing, which is 5%, full size.
The model is built by Sentaro
Kurosaki, a native carpenter of
repute, superintended by Kei-
kichi Ishii, Assistant Professor,
Engineering College, Imperial
University, under the direction
of Kingo Tatsuno, Professor,
July 1892. The roofings and the
hand-rails are partly unfinished,
the object being to make the con-
struction, which is of a special
kind, easily visible. The colors
are applied by Mr. Kotobuki Ma-
tsuoka, exactly in imitation of
the real ones.
The Goji-no-t6 represented by
this model has a total height,
measured from the base-stone up
to the hdshi—an ornamental
globe of metal on the top of the
prominent rod—of 113 feet and 4
inches. As measured from the
ground level to the apex, itis 116
feet and S8inches. Each side of
the bottom square measures 16
feet between the centres of the
corner columns. The vertical sec-
tion of the Gojt-no-to is caleu-
lated to have an area of 1,6923
square feet, of which an area of
43% square feet igs the vertical
section at the centre of the kurin
(top rod exposed to the weather).
The tower is enclosed with a
stone fence eight ken or forty-
eight feet square. The outer
surfaces of the body of the tower
are painted red.. The eaves of
each story are composed of dou-
ble rafters, and cast deep sha-
dows upon the body of the tower.
The roofing material is copper.
The bottom story is most ela-
borately finished. The panels of
the doors have the sign of the aoi
—the holly-hock—the Tokugawa
family crest. As to the interior,
the centre columns of the “four
heavens” are enclosed with kin-
ran—gold embroidery. The four
sides are painted red. Around
the eaves of the bottom story,
color-decorations are applied
profusely, and there are painted
wood-engravings of the twelve
animals representing the Duo-
denary Cycle—namely, Rat, Bull,
Tiger, Hare, Dragon, Serpent,
Horse, Goat, Ape, Cock, Dog, and
Pig.
The mode of construction of
the Goji-no-t6 is very ingenious.
It has power to resist violent
winds, as well as great earth-
quake shocks, which are well ||
known to be frequent in Japan.
Like the ordinary structures after
the native fashion, the Goji-no-
to consists of uprights and hori-
zontals of timber with a very
few diagonal elements. Each
story has 16 columns, 12 of which
are always visible from the out-
side. The inter-columniation of
each story is a little less than
that of the story below it. The
junctions of the columns of a
lower story with those of an up-
per one are made simply with
mortise and tenon applied to the
horizontal squares framed at the
levels of the junction. The cor-
ner rafters, which are important
as supports for the extraordinary
projections of the eaves, also in-
Oe ee 0 irget ane yr ine tea ape hy sho en or -
crease the strength of the junc-
tion, as the ends of the corner
rafters are fixed to the corner
columns of the story above with
mortise and tenon. The hand-
rails and roof-timberings also as-
sist in fastening the junction,
Great constructive ingenuity is
revealed in the use of the centre |
shaft, which is simply hung at
the middle, vertically supported
by means of a chain, and which
carries the top rod projecting
upon the highest roof. The shaft
does not touch the ground nor
the construction, excepting at the
top roof. By this contrivance,
the highest roof is made wind-
proof, and, at the same time, the
centre of gravity, which is rough-
ly calculated to be at the upper
part of the hand-rail level of the
lowest-but-one story, is lowered
a little; and thus the stability ‘ of
the structure is much increased
This mode of construction came
from China, But in China this
excellent mode of construction
has been lost,
The Gojt-no-t6 at Nikko is
situated at the west side between |
the stone torit and the Nio-go-
mon of the Shrine of Tosho Gon-
gen. Some Buddhist idols are
placed in the central part of the —
lowest story. This tower had
been built and dedicated to Té-
sho Gongen by one of his loyal
subjects, Sakai Tadakatsu, of
Obama in Wakasa, in the 3rd year
of Keian (1650 A.D.). In the se-
cond year of Bunkwa (1805 A.D.),
this graceful pagoda of Nikko
was burnt down. The work of
rebuilding it exactly after the
original model was begun on
February 11th in the sixth year __
¥
|
—————E—E———ee————e—eeeeeeee————————— 7
| Engineering, Imperial
of Bunkwa (1809 A. D.), and the
building was completed on Oc-
tober 27th of the same year. The
foreman of the workers was Ki-
heiji Okura. The external red
paint and other decorations were
executed by Hikoshiro Hinoya,
a contractor.
Vertical section of the Goji-
no-t6, Nikk6; 51, full size, copied
by Jotard Ishihara, College of
Univer-
sity of Japan.
Reproduction of Decorative
Coloring of the Gojiti-no-t6, Nik-
k6; sy full size, Jotard Ishihara,
Draughtsman; College of En-
gineering, Imperial University of
Japan.
Model of the Sam-.
mon, or Mountain
Gate, at Shiba
in Tokyo.
This is a model of the Shiba
Sammon or the Mountain Gate,
at Shiba, Toky6, Japan. It is a
timber structure, like the real one.
The model was made by native
carpenters in the old Kobu-dai-
gakko, or Engineering College,
under the Engineering Depart- |
ment of the Government. The
paint has been recently applied
by a contractor, Sato, super-
intended by Keikichi Ishii, As-
| been placed.
55
sistant Professor, under the di-
rection of Kingo Tatsuno, Profes-
sor, July 1892.
The Shiba Sammon represent-
ed by this model stands in the
Shiba Park, originally a great
cemetery of the Tokugawa fami-
ly. Sammon, as its name im- |
plies, is the Mountain Gate, that
is, the gate of honor. Itis one
of the chief features of Buddhist
grave-yards.
The structure is two-storied.
The lower part is for passage, on
both sides of which the Ni, or
the statues of the two kings, have
In the upper story, —
the Jiroku Rakan, or the statues
of the sixteen Buddhist sages,
have been put. The paint is of
cinnabar red.
The Shiba Sammon was built
in the third year of Keichd (1598
A. D.). ‘
Automatic Electric
Recorder, inven-
ted by the late
Professor R. Shi-
da, of the Engi-
neering College,
Imperial Univer-
sity, Tokyo,
Japan.
COLLEGE OF SCIENCE.
(Instruments in the Earthquake Laboratory.)
The first earthquake instru-
ment ever invented, is in all
probability that of Ch6k6, dat-
ing from the year A. D. 132.
The first instrument used for
keeping systematic records in
Japan, was Palmieri’s modifica-
tion of the contrivance sketch-
ed out by the late Robert Mallet.
Since this, not only haveall forms
of seismographs and_ seismos-
copes employed in Europe and
America been employed, but
many special forms have been
designed in Japan, with the re-
sult that rather than Japan bor-
rowing from Europe and America,
these countries are using inven-
tions which had their origin in
Japan. <A few of these instru-
ments are exhibited in this la-
boratory. The main feature in
their construction is that they
all work from “steady points,”
and for small earthquakes at least, |
we can say with confidence that
the diagrams they yicld are ab-
solute measurements of the
earth’s motion, From diagrams
written on stationary plates we
know the extent and the direc-
tion of the principal vibrations
in a shock, but when the move-
ments are recorded on a moving
surface, we know the period or
the rapidity with which the
movements follow each other.
From these latter diagrams, the
acceleration or suddenness of
movements may be calculated and
factors given to engineers en-
abling them to build so as to re-
sist known forces, rather than
simply building strongly because
an earthquake is strong.
Seismograph writ-
ing on aglass disc
with atime-ticker. 1
Here we have horizontal pen- |
dulums writing the earth’s mo- |
tion as two rectangular compo- |
nents on the surface of asmoked |
glass plate. The vertical motion |
is given by a vertical spring lever |
seismograph, The rate at which
=I
latter are governed by a pen-
RC rmmemecamnescecameraemmmemmmr ee ee OT ee
the plate revolves is accurately
marked by an electrical time-
ticker. The movements of the
dulum swinging across and mak-
ing contacts with a small vessel
of mercury.
The revolving plate is kept in
motion by clock work which is
set in motion by an electric
seismoscope, (See No, 8.)
Circular plates for
the above. 12
Earthquake clock,
contact maker,
time-ticker pen-
dulum, and six dry
cells, belonging fs
to the Seismo-
graph writing on
a disc and Seis-
mograph writing
on a drum. 7
Electrical Contact Maker.
These instruments are delicate
seismoscopes, which,on the slight-
est disturbance, close an electric
circuit, which actuating electric
magnets, sets free the machinery
driving the recording surfaces on
which diagrams are written.
Clock. At the time of an
earthquake the dial of this clock
moves quickly back and forth and
receives on its surface three dots
from the ink pads on its fingers.
It thus records hours, minutes
and seconds, without being stop-
ped.
Seismograph writ-
ing on a band
of paper. 1
\
mii
In this instrument not only
is the diagram written along a
straight line but it is written with
pencil,—the trouble of handl-
ing smoked paper being there-
fore avoided. _ When the earth-
quake ceases, the drum ceases to
revolve, but if a second or third
earthquake should occur, it is
again set in motion. By this
means a series of earthquakes
may be recorded, the resetting
of the instrument being automa-
tic.
Seismograph with-
out multiplying
levers. 1
This instrument is intended
to record large motions, the hori-
zontal levers not being prolonged
beyond the steady points to ||
multiply the motion. For large ||
earthquakes, when the ground is |
thrown into wave like undula- |
tions, special instruments which |
measure tilting are employed.
Duplex Pendulum
Seismograph. 1
In this case a steady point is
obtained by controlling the
motion of an ordinary pen-
dulum with an inverted pendu-
lum. The record consists of a
series of superimposed curves
written on asmoked glass plate.
Mantelpiece Seismo-
57
absolute measurements for small
displacement.
‘Teta canst 1
This is one form of an instru-
ment which is used to record
movements which are common to
all countries, called earth tre-
mors. Every five minutes, by
clock-work contacts and an in-
duction coil, sparks are discharg-
ed from the end of the long .
pointer to perforate the bands
of paper which are slowly mov-
ing across the brass table. If the
pointer is at rest, then a series of
holes are made following each
other in a straight line, but if it
| is moving, the bands of paper are
perforated in all direction round
what would be the normal line
of perforations.
The earth movements which
cause these disturbances are ap-
parently long surface undula-
tions of the earth’s crust, in form
not unlike the swell upon the
ocean.
. A more satisfactory method of
recording these motions, which
has been used for the last two
years, is by a continuous photo-
graph of a ray of light reflected
from a small mirror attached to
a small but extremely light hori-
zontal pendulum.
Coil, clock, etc., be-
longing to the
meter. 1 above. 1
This is intended for the use of || | 11°} Model of an Earth-
those who simply wish to know f qua De 1
the direction and extent of
motion as recorded at their The bent wires represent the
| own house. It is a form of path traced by an earth particle at
duplex pendulum, and it gives | the time of the Earthquake of
58 |
i: a AA ia i aa Ain aN ae Ne ee
Jan. 15th, 1887. The numbers - Orater wall of
indicate successive seconds.
This model was made by Prof. S. penage
Géniyes Bandaisan.
. Lake formed by
Fab i 12 Safety lamps. 2 damming a
These are lamps which, if over- Valley.
turned, are at once extinguished. ditto
Qne.of these is a European in- Inside the
vention and the other Japanese.
P crater of Ban-
» 13) Photograph illust- daisan, destroy-
rating Seismic ed by air con-
and Volcanic cussion.
Effects : 24 Mt. Fuji from
Biwajima_ Brid- | Kawaguchi.
Se. Mt. Fuji from
Cotton Factory, Otome Pass.
- |
Nagoya. | The crater of
ditto "| Asama-yama.
Twisted Railway
Line. These pictures show the ef- *
Bridge in Neo fects of the Great Earthquake
Valle | of October 28th, 1891, the de-
y: vastation following the Erup- —
Landsli i i s
Aandasilps in | tion of Bandaisan in 1887, and —
Neo Valley. several of the more important
Sunken Houses volcanoes in Japan.
in Neo Valley. 1. The Great Earthquake of i
Railway Bridge, Japan on Oct. 28th 1891, result-
Nagara River. ed in the death of about 10,000
i people, the total destruction of
ditto 127,000 houses, and the general iP
ditto ruin of everything within an }
Town of Kasa- area of 92,000, square. miles. r
Forests were shaken from hill
all sides and valleys were com-« »
ditto pressed whilst a fault or sink- ‘
Embankment of ing of country took placealong |.
. Nagara River. a line between 40 and 50 miles ©
Biwajima. in length. The éarth move-
ment was probably as great as
The Great Fault anything recorded in the his- |
in Neo Valley. tory of seismology. . |
14
20
21
2. The Eruption of Bandai-
san took place on July 15th,
1888. In less than ten minutes
material derived from the blow-
ing off of a mountain top
buried an area measuring 13
by 7 miles, from 30 to 100
feet deep, beneath a sea of
earth and boulders. All in
the district, numbering some
600 souls, were buried.
3. Fujisan, which ranks a- }
mongst the most symmetrical
voleanic cones in the world,
last erupted in 1707. Its solitary
grandeur and graceful outline
have attracted the attention of |
artists and poets and made it
an object of admiration for all
travellers.
4, Asamais a volcano about 70
miles north of Tokyo. It isal-
ways in a state of activity and
at night the glow of its fires
can be distinctly seen at the |
bottom of a crater over 700 feet |!
in depth.
Picture of the old
Chinese selsmo-
meter. 2
15 | Frames of covers
belonging to the
instruments ex-
hibited. 1
16 | Explanatory notes. 1400
17 | Seismograph writ-
ing on a drum. 1
In this instrument the record
is written on a band of paper,
the diagram being less difficult to
interpret because itis written to
the right and left of a straight
line and not round a circle.
18 | Specimens of in-
sects. 1
19 | Drawing. 1
, | Archaeological spe-
cimen. £
ditto 1
PY ditto ii
z ditto 1
COLLEGE OF AGRICULTURE.
Model of Japanese
fruits. 103 kinds
Photograph show-
ing the results of
manuring experi-
ments with rice. 1
Photograph show-
ing the results
of manuring ex-
periments with
barley. 1
Bulletin of the
Agricultural Col-
lege, Imperial
University,Japan. 1
- Specimens of Japa-
« “nese timber-
wood. — 8 frames.
60
ty
99
39
pi
25 { A set of discs show-
ing the growth of
-. the most import-
b ant Japanese
timber trees.
Analytical diagram
portant Japanese
timber trees.
Diagram showing
' the ~ vertical
growth of the
-most. important
| Japanese timber
trees.
Diagram showing
27
28
growth of the
most important
Japanese timber
trees.
Diagram showing
the volume
growth of the
most important
Japanese timber
trees.
Experimental table
of a _ sugi-forest
in Yoshino.
Specimens of seeds
of the more im-
portant Japanese
29
30
31
32 | A set of photo-
graphs showing
the _transporta-
tion of timber in
the Kiso forest.
.--. of ‘the most im-.
the horizontal '
timber trees. 30 bottles
Stereometer. 1
This instrument has been con- —
structed for the pbysical labora-—
tory of the Agricultural College,
Imperial University, Toky6, for
determining the specific gravity —
of porous substances, such as
wood and soils, which undergo
~| changes of volume in water, and
‘| also for ascertaining quickly the ©
air and the water capacities of —
soils.
_ Itis constructed on the same —
principle as the well-known —
Say’s stereometer and Regnault’s
| volumometer, and combines the
merits of both . instruments, —
especially the accuracy of Reg- ©
.| nault’s instrument without the
use of barometer or kathetome-
ter. as
The gilded vessel G inside the
glass cylinder is intended to hold
the substance to be experimented —
with, and is hermetically closed |
by means of a screw s, whilst the —
stop-cocks a and Bare opened, so |
that the air in the glass cylinder
can communicate with the air out-
side. Then the vessel Gis lower- —
ed slowly by means of a rack ©
till the point of the ivory tooth
1 inside the glass tube R touch-
es the surface of the mercury.
Now the stop-cock 8 is closed
and the vessel @ is again raised
till the rising mercury reaches
the point of the second ivory
tooth. In order to attain the
greatest accuracy, the microme- —
ter screw behind the vessel @
should be used. °
The level. of the mercury in
the glass tube R can be indicated
by means of a scale M, which is
‘movable in all directions. By
|} means of the screw a, we can
Stereometer.
adjust the scale in such a posi-
tion that the point of the ivory
tooth b, which is the zero of the
scale, touches the surface of the
| mercury, in the tube w. In
order that any error from the
fluctuation of the surface of the
mercury might be avoided, and
also the capillary depression in
the tube R might be reduced as
much as possible, the tooth 0 is
so made as to move about in
the glass tube R’, which has the
same diameter as the tube R and
communicates with it at the
bottom.
Let the height of the mercury
in thetube R be 7/7, Thestop-cock ||
a and £ being closed, the air in ||
the vessel G is under the atmos- |
pheric pressure at the time of ||
the experiment, while the air in |
the glass tube R is under the pres-
sure H—7). Let the volume of the
glass tube from £ to the tooth
1 be v’ and that from the tooth
1 to the tooth 2, v, then we have
Hv'=(H—n)(v+v'). I
Now, having opened the stop-
cock a and f, lower the vessel G
till the point of the ivory tooth 1
touches again the surface of the
mercury. Then close the stop-
cock @ and raise again the vessel
| G@ till the surface of the mercury
touches one of the ivory teeth
below the tooth 2. Use the tooth
3, 4 or 5, according to the volume
of the substance experimented
with, taking care that the height of
the raised mercury allows us to
measure it by the scate Vf, without |)
being hindered by the vessel G.
Now let the volume of the
glass tube from the ivory tooth
61
2 to any one of the three teeth
3, 4, or 5 be w, the volume of the
vessel without the substance ex-
perimented with, V, the volume
of the substance experimented
with, v, and the height of the mer-
cury, 77’, then as the air has ex-
panded from the volume V—x
+0! to the volume V—2+v!+Vv
+w, we have
(V—«+v’') H= (H-1’) (V—x
+V'+U+4+y). Il
provided, that the temperature is
inaltered.
Combining this equation with
the equation I, we have
w=A-—B (1-7)
1
Aand Bare two constantsinde- _
pendent of the barometric height,
and peculiar to each instrument,
inasmuch as we can neglect the
changes of volume of the vessel
G and the glass tube R due to the
changes of temperature. These
constants can be readily deter-
mined experimentally.
Tribometer. 1
This instrument has been
made by the Kikai Seizokaisha,
Tokyo, according to the direc-
tions of Dr. Dird Kitao, Profes-
sor of the Agricultural College,
Imperial University, in order to
determine the friction coefficient
of Japanese timber, and also to
investigate the laws of sliding
friction of anisotropic bodies.
The principal part of the in-
strument consists. of a strong
well-polished plate.A A (V. Dia-
gram) which by its steel knife-
edge just touches the steel cross-
piece d of the iron supporter U.
From the other end of the plate
A A, which can be moved around
its edge C, two thin but strong
cords are passed parallel to each
other, first over two rollers
(near r) and then through the
slits R R of the movable plate
and are fastened to an axle in
the supporter U, in such a
manner that the plate A A can
be moved round the knife-edge
c by turning the handlek. As
the mass of the cords is quite in-
significant when compared with
that of the movable plate, and
the supporter stands quite firm-
ly on account of its weight and
size, the movable plate can be
turned without shaking by
means of the handle, if it is turn-
ed always with the same speed.
The square columns BB which
support the rollers and stand
perfectly vertical are 200 mm. |}
long, counting from the axle of
the movable plate. One of these
columns is supplied with a scale
of mm. and a vernier NV, which
is raised when the plate is turned
and can be kept in position there
by means of a spring. The fric-
tion plate F made of polished
iron can be replaced by another of
different substance, which is fas-
tened by means of four screws s.
The solid body whose friction
coefficient is to be determined is
placed on the friction plate, and
the plate A A turned until the
solid body begins to slide. We
get the friction coéfficient of the
body experimented with in rela-
tion to the friction surface by
ee
i m
a ANN AB AEC Yoo Fe
9 TeSteeee
200) (s0) |
m \2 A.\2en
ie 14 (ap) -(s5) J
“eh
200 |+~(eon) |
in which A is the thickness of
the movable plate and m the
scale reading.
But as the beginning of slid-
.| ing under such a critical angle is _
hardly perceptible to the eye, Dr.
Kitao has employed an electro-
magnetic clock-work to indicate’
it. The screw by which a metal-
lic hoop is fastened around the:
body experimented with, endsin
a kuob covered with platinum y..
Opposite to it are two fine plati-
num brads a, one of which is
fastened on to the short small
massive column e while the other
is put through the slit in the
column e without coming in me-
tallic contact with it. This se-—
cond brad can be moved by the
screw og in the short small colu-
mn e’, till both brads a form a
metallic connection with the
platinum y. Now, asshown by _
the dotted lines in the diagram,
the binding screws s s, the small
columns e and e’ and the ends
of the metallic conductors of the
electric clock-work M are so com-
bined, that as long as y forms a
metallic connection with a, that
is to say, as long as the body re-
mains in the state of rest, the
iron armature € is drawn to the
clock-work, but as soon as the
body begins to move and the
connection between y and a is
| means of the following equa-
_ | tlom::
| interrupted, the iron armature
| begins to vibrate.
1
sith
noo bi
2D ha Vera
util
Wutlontt
Tribometer.
axa pea agar ee a ae ee ee A
f
EAS,
ee
ee
B
Tribometer.
FA ry a, .
ey Vee sae bina ey Yad (oi Ren MEET
aise e
prices ies.
oe
neu ty ef
"
ae tie
er 3 CN
ee ee
pape
*
ee
Dr. Kitao has examined with
this instrument a large number
of timber and has therefore had
many opportunities of assuring
himself of the sensibility of this
instrument as well as of the im-
possibility to draw a sharp line
between the state of rest and of
motion of the bodies experiment-
ed with. Certainly, the remain-
ing magnetism is troublesome,
especially if the current is too
‘strong; besides, the moment
when y and a lose their electric
connection is not identical with
the moment when the iron arma-
ture € in the electric clock
gives way. Moreover, as the iron
armature thus thrown back
needs a little time to produce the
first sound, the interruption of
the conduction between y and a
does not take place at the same
time with the perception of the
sound. But it was found that
the defects arising from these
inconveniences seem to be of
the same sort as the defects
which arise from the inevitable
shaking of the plate by turning,
if a weak current is used and
the movable plate near the criti-
cal angle is turned so slowly that
the rate of turning nearly vanish-
es against the rate of the vibra-
tion of the iron armature.
The magnitude of the friction
coefficient, even with an amorph-
ous body, is found somewhat dif-
ferent if the direction of sliding
is changed. In order to be quite
sure that the sliding direction of
the body is always the same,
when repeating the experiments
with the same body, we make
use of the pusher D, which can
be moved along the friction sur-
63
face F by means of the screw 2.
We turn & till platinum y gets
into electric contact with two
little brads, when the electric
clock will be silent. Now 2 is
turned back until there is a hair’s
breadth between hoop U and the
pusher D.
The results obtained by this
instrument will soon be publish-
ed in an essay in the bulletin of
the College of Agriculture, Im-
perial University, Tokyo.
Specimens of char-
coal made by dry
distillation. 12 cases
Forest technologi-
cal products. “
Models of the liga-
ments of the
Japanese horse:
te
Ligaments of
temporo-maxillary
articulation. —
2. Ligamenta capsularia.
Ligamentum laterale.
Ligamentum laterale su-
perius. |
He ope
II.
Ligaments of occipito-at-
loid articulation, atlo-axoid
articulation and interver-
tebral articulation be-
tween axis and vertebra
colli tertia.
1. 2 3. Ligamenta articu-
laria capitis.
4. Ligamentum ob-
turatorium _pos-
teriushom. __
Damris Ligamenta lateralia
atlantis.
ee ee ee ee ee ee
Te Ligamentum —ob-
turatorium ante-
rius hom.
8.9.10.11. Ligamenta cap-
sularia atlantis et
epistrophei.
12, 13. 14. Ligamenta inter-
cruralia.
15. 16. 17. Ligamenta inter-
spinalia.
18. Ligamentum supe-
rius processus
odontoidei.
19. Ligamentum infe-
rius processus
odontoidei.
20. Ligamentum nuchae
(funicular por-
tion).
21, 22. Ligamenta nuchae
(lamellar portion).
23. 24. Ligamenta © capsu-
laria.
25 Ligamentum longi-
tudinale __poste-
rius hom.
26. Ligamentum inter-
vertebrale,
‘ Toy,
Ligaments of interverteb-
ral articulations and
costo-vertebral ar-
ticulations.
1.— 5. Ligamenta inter-
vertebralia,
6. Ligamentum longitudi-
nale posterius hom.
Ligamentum longitudi-
nale anterius hom.
8.—11. Ligamenta capsularia.
12. 13. Ligamenta capsularia
capituli costae.
14.17. Ligamenta capsularia
tuberculi costae,
18.—21. Ligamenta colli cos-
tae.
~l
22.—25. Ligamenta tuberculi
costae.
26.—29. Ligamenta eapituli
costae inferiora.
30.—33. Ligamenta conjugalia
costarum.
Iv.
Ligaments of intervertebral
articulation.
1. 2. Ligamenta
bralia.
3f Ligamentum longitudinale
anterius hom.
4, 5. Ligamenta capsularia.
6. 7. Ligamenta interspinalia.
8.
9;
interverte-
Ligamentum supraspinale.
Ligamentum intercrurale.
Ys
Ligaments of chondro-ster-
nal articulations and
sternal symphyses.
1.—8. Ligamenta stero-cos-
talia radiata,
gh Ligamentum chondro-
xyphoideum hom.
10. Ligamentum steri pro-—
prium superius,
Lis
Ligaments’ of scapulo-
humeral articulation.
1. 2. Ligamenta capsularia
brachii.
VIL.
Ligaments of humero-radial
articulation and radio- -
ulnar articulation.
tie Ligamentum capsulare
antibrachii.
2. Ligamentum laterale radi-
ale. ;
3. Ligamentum laterale ul-
nare.
rr
| 4: Ligamentum transversum || f 15. Ligamentum laterale
| internum radii et ulnae. | | ossis multanguli
5. Ligamentum transversum minoris et metacarpi.
externum radiietulnae. | | 16. Ligamentum _laterale
6. 7. Ligamenta interossea ossis hamati ef mets-
hom. carpi.
17; Ligamentum dorsale
| VILL. hit acon ossis, i
| tati et metacarpi inter-
Ligaments | num.
of articulations of the car- | 18. Ligamentum — dorsale
pus and intermetacar- | obliqunm.qesie rss
pal articulations. | {Gh OTROS A
| num.
ie Ligamentum carpi cap- | 19. Ligamentum transver-
sulare, | sum dorsale- ossis
2. Ligamentum carpi vo- | navicularis et semilu-
lare commune. naris.
3. Ligamentum carpi late- 20. Ligamentum transver-
rale internum anterius. | | sum dorsale ossis
4. Ligamentum carpi late- | semilunaris et trique-
raleinternum medium. tri.
5. Ligamentum carpi lute- 21. Ligamentum transver-
rale internum poste- sum ossis triquetri et
rius. f pisiformis.
6. Ligamentum carpi late- 22, 23, Ligamenta volaria ossis
rale externum longum. pisiformis, triquetri, et
7. Ligamentum carpi late- | semilunaris.
raleexternum breve. | 24, Ligamentum volare ossis
8. Ligamentum laterale semilunaris et navicu-
radii et ossis navicu- | laris.
laris. | 25. Ligamentum transver-
9. Ligamentum laterale ul- sum dorsale ossis
nae et ossis triquetri. | capitati et hamati.
\ 10. Ligamentum volare obli- | 26, 27. Ligamenta interossen
quum ossis navicu- | metacarpi. |
laris et radii. 28, Ligamentum suspen-
+k Ligamentum radii et os- | sorium.
sis pisiformis. |
12. Ligamentum volare os- |
sis navicularis, mul-
tanguli minoris et
capitati. |
13. Ligamentum volare os-
sis triquetri et capitati. |
14. Ligamentum inferius os-
sis pisiformis. |
66
IX.
Ligaments
of intermetacarpal articula- |
tions, metacarpo-phalan-
geal articulation and
interphalangeal
10.
ll.
12. 13. 14.
15.
16.
17.
18.--22.
23.
articulations.
Ligamenta interos-
sea metacarpi.
Ligamenta suspen-
soria,
Ligamentum capsu-
lare phalangis pri-
mae.
Ligamentum laterale
radiale phalangis
primae,
Ligamentum laterale
ulnare _phalangis
primae.
Ligamentum osseum
sesamoideorum
transversum.
Ligamentum Jaterale
ossiuni sesamoide-
orum internum.
Ligamentum laterale
ossium sesamoide-
orum externum.
Ligamenta volaria
recta ossium sesa-
moideorum.
Ligamentum crucia-
tum ossium sesa-
moideorum.
Ligamentum laterale
radiale phalangis
secundae,
Ligimentum laterale
ulnare _ phalangis
secundae.
Ligamenta volaria
phalangis secundae.
Ligamentum capsu-
lare phalangis ter-
tiae.
24.
25,
26.
29. 30.
31. 32, 33.
35
Ligamentum laterale
radiale phalangis
tertiae.
Ligamentum laterale
ulnare — phulangis
tertiae.
Ligamentum laterale
radiale ossis sesa-
moidei inferioris.
Ligamentum laterale
ulnare ossis sesa-
moidei inferioris.
Ligamentum interos-
seum.
Ligamenta __cartila-
ginis et ossis navi-
cularis.
Ligamenta cartilaginis
et phalangis pri-
mae,
Ligamentum cartila-
ginis et phalangis
secundae.
Ligamentum cartila-
ginis et phalangis
tertiae.
X.
Ligaments
of
sacrum and os innominatum.
1,
2.3. 4. 5.
=I
SEU:
10.
11.
Ligamentum
spinale.
Ligamenta
spinalia,
Ligamentum laterale
anticum hom.
supra-
inter-
Ligamentum arcua-
tum hom.
Ligamenta _ ilio-sac-
ra brevia hom.
Lig .mentum ilio-sac-
rum Jongum hom.
Ligamentum tubero-
so- et Spinoso-sac-
rum hom.
————
67
{ 12. Ligamentum obtura- {| | 12. Ligamentum _patellae
| torium hom. | capsulare.
| 13. Ligamentum teres | 13. Ligamentum _transver-
| hom. | sum patellaeinternum,
i | 14. Ligamentum transver-
| XI. | sun patellaeexternum.
| Ligaments of coxo-femoral | | 45. Ligamientam patellae
Hanlation: | Tectum internum.
ee | 16. Ligamentum patellae
| 1. Ligamentum capsulare | rectum medium.
femoris, | | 17 Ligamentum patellae
2. Ligamentum transversum | rectum externum.
incisurae acetabuli, | | 18. Ligamentum _fibulare
3. Ligamentum teres hom. capsulare,
4. Ligamentum pubo-femorale. | 19.20. Ligamenta —_interossea
p41
Ligaments of femoro-tibial
articulation and
tibio-fibular
articulation.
i Ligamentum anticum
cartilaginis semilunaris
internae,
2. Ligamentum posticum
cartilaginis semilunaris |
| internae.
| 3. Ligamentum
cartilaginis semilunaris
externae.
4. Ligamentum posticum
superius _ cartilaginis
semilunaris externae.
Gk Ligamentum posticum
inferius cartilaginis
semilunaris externae.
6. Ligamentum capsulare
tibiae.
he Ligamentum tibiae late-
rale internum hom.
8. Ligamentuni tibiae late-
rale externum hom.
9.10. Ligamenta cruciata anti-
ca hom.
a. Ligamentum cruciatum
posticum hom.
anticum
tibiae et fibulae.
XTIL
Ligaments
of articulations of the tarsus
and intermetatarsal
articulations.
i Ligamentum tarsi cap-
sulare.
2. Ligamentum tarsi late-
rale internum longum.
3.4.5, Ligamenta tarsi late-
ralia interna brevia.
6. Ligamentum tibiale as-
tragali.
. Ligamentum tarsi late-
rale externum longum.
8. 9. Ligamenta tarsi late-
ralia externa brevia.
10. Ligamentum tarsi plan-
tare.
11. Ligamentum dorsale
tarsi obliquum.
12. Ligamentum _plantare
rectum astragali et os-
sis navicularis.
13. Ligamentum dorsale
obliquum calcanei et
ossis navicularis.
14, Ligamentum _ plantare
rectum calcanei et os-
16.
18,
19.
20.
21.
22,
23. 24,
sis cuneiformis primi
et secundi.
Ligamentum dorsale
-obliquum ossis navi-
cularis et. cuneiformis
tertii.
Ligamentum dorsale
obliquum ossis cunei-
formis tertii et meta- |
tarsi medii.
Ligamentum
dei et metatarsi medii
et exterui.
Ligamentum transver-
sum externum calca-
nei et astragali.
Ligamentum _ plantare
internum calcanei et
astragali,
Ligamentum plantare
externum calcanei et
astragali.
Ligamentum transver-
sum dorsale ossis
navicularis et cuboi-
dei.
Ligamentum transver-
sum dorsale ossis
cuneiformis tertii et
cuboidei.
Ligamenta
metatarsi.
interossea
Models of the mus-
cular
insertions
of the Japanese
horse :
1.
Muscular insertions
|
on ossa cranil.
Musculi
humerales.
Musculus — splenius |,
capitis et colli ho-
niinis,
dorsale |
obliquum ossis cuboi- |
mastoido- |
\}
|
|
|
ee aan
or
~I
18. 19.
.
Museulus trachelo-—
mastoideus h.
Musculus complexus
h.
Musculus rectus ca-
pitis posticus ma-
jor.
Musculus rectus capi- —
tis posticus medi- —
us. :
Musculus rectus capi-
tis posticus minor
h.
Musculus obliquus
capilis superior h.
Musculus occipito-
styloideus.
Musculus _ biventer
maxillae inferioris
h,
Musculus
xillaris.
Musculus tragicus h.
Musculus tensor veli
palatini h., et
Museulus levator
veli palatini h.
Musculus rectus capi-
tisanticus major h. |
Musculus rectus capi-
tis anticus minor h.
Musculus rectus capi-
tis lateralis h.
Musceuli
h.
Musculus levator au-
ris longus.
stylo-ma-—
temporales
Museuli communes
auris.
Musculus adductor
auris superior.
Musculus levator _
auris medius.
Museulus adductor
auris externug.
‘ Museulus corrugator
supercilii h.
48.
tp eth et tt
Musceulus orbicularis |
palpebrarum h
Musculus levator
labii superioris et |
alae nasi h.
Musculus levator
labii superioris
proprius.
Musculus lacrymalis.
Musculus masseter h. ||
Museculus pyramid-
alis nasi.
Musculus molaris.
Musculus obliquus
oculi inferior.
Musculus levator
palpebrae — superi- |
oris h. —
Musculus rectus
oculi superior.
Musculus rectus
oculi inferior.
Musculus rectus oculi
internus.
Musculus rectus oculi
externus, et
Museulus retractor
bulbi.
Musculus obliquus /
oculi superior. |
Museulus = pterygo- |
ideus externus h.
' Musculus _ pterygo-
ideus internus h.
Museulus pterygo-
pharyngeus bh.
Musculus palato-pha-
ryngeus.
Musculus palatinus.
Musceuli_ dilatatores
breves.
Musculus buccinator
h.
Musculus incisivus |
labii superioris h.
II.
Muscular insertions on:
}
we
ori ee
le
|18.
| 14,
| 15.
| 16.
}
}
|
if
dees
| 9.10.
11.12.
]
|
| 13.14.
15.16.17, 18. Musouli
. Musculus
h.
bo
os maxillare
inferius.
Musculi temporales h.
Muscuius masseter h.
Musculus molaris et
Musculus depressor labii
inferioris.
Musculus buccinator h.
Musculus incisivus labii
inferioris h.
Musculus levator menti hk.
Musculus _ sterno-maxil-
laris.
Musculus stylo-mazxillaris.
Musculus biventer maxil-
lae inferioris h.
Musculus pterygoideus ex-
ternus h.
Musculus pterygoideus in-
ternus h,
mylo-hyoideus
Musculus mylo-glossus b.
Musculus genio-glossus h.
Museulus genio-hyoideus
h.
Ii.
| Muscular insertions on os
hyoideum.
Musculi occipito
styloidei.
5. 6. Museuli stylo-
hyoidei h.
Musculi styloglossi
h.
Musculi stylo-
glossi secundi.
Musculi stylo-
pharyngei b.
Museuli _byoidei
transversi h.
cerato-
hyoideus h.
70
Museular insertions on
12. 13.
Musculi_ linguales
h.
Museulus hyo-epi-
glotticus h,
Musculi baseo- |
glossi h, |
Musculus _ genio-
hyoideus h, |
Musculi mylo- |
hy oidei h. |
Musceuli omo-
byoideus h. et
|
Musculus _ sterno- |)
hyoideus h.
Musculi_ chondro-
pharyngei h.
Museuli hyothy-
reoidei h,
Musculi cerato-
pharyngei h.
TV.
‘| 15. 16.
atlas. |
Musculi obliqui capi- |
tis inferiores h.
Musculi recti capitis |
postici minores h.
Musculi obliqui capitis |
Superiores h.
Musculi recti capitis an- |
tici minores h.
Musculi recti capitis la- |
terales h. |
Musculus longus colli h.
Musculi — transversales
_ cervicis,
Musculi
tales, et
Musculi splenii capitis
et colli h,
sterno-hume-
V.
Muscular insertions
on axis.
Musceuli recti capi-
tis postici medii.
3.24, Musculi recti capi-
| tis postici major-
es.
S'S: Museuli _ spinales
. cervicis h.
TB Museuli _obliqui
capitis inferiores
h.
9.10. 11.12. Musculi inter-
transversales
cervicis h.
Musculi mastoido-
humerales.
Musculi complex-
us h,
Musculi recti capi-
tis antici majores
h,
Musculi depressor-
es colli breves.
21. Musculus longus
colli h.
13. 14.
17. 18.
VI.
|
| Muscular insertions on
vertebra colli quarta.
1. 2. 3. 4. Musculi spinales
cervicis h. |
5. Musculus ilio-spina-
lis h, |
6. 7% 8. 9. Musculi complexus —
h.,
Musculi __ trachelo-
mastoidei h., et
Musculi
transver-
sales cervicis, |
Musculi intertrans-
versales cervicis
h.
10-15.
POET Musculi scaleni pos-
| teriores.
| 18. 19. Musculi sealeni an-
teriores et me-
dii.
20. 21. Musculi tmastoido-
humerales,
Musculi levatores
scapulae h.,
Musculi splenii
capitis et colli h., ||
et
Museuli cervicales
descendentes h.
22, 23. Musceuli recti capi-
tis antici . ma- |}
jores h. |
24,— 28. Museuli longi colli
| h.
VII.
Muscular insertions on
vertebra dorsalis
nona.
1, 2. Musculi cuculares h.,
Musculi latissimi dorsi
h., et
Musculi serrati pos-
_tici superiores h.
3.4.5.6. Muscnli longissimi
dorsi h,.
7.8.9.10. Musculi multifidi spi-
nae h.
11. 12. Musculi levatores cos-
tae h.
VIII.
Muscular insertions on
vertebra lumbalis
tertia.
1 Musculus latis-
simus dorsi h.,
Musculus serratus
posticus inferior
h., et
i
71
Musculus __ longis-
simus dorsi h.
2.3.4.5 ditto
6.7.8. 9. Musceuli multi-
fidi spinae h.
10. 11. Musculi _ ilio-cos-
tales h.,
Musculi retractores
costae, et
Musculi transversi
abdoniinis h.
12. 13.14.15. Musculi intertrans-
versales lumbales
h.
16.17. Musculi quadrati
lumborum h
18. 19. Musculi psoai
magni h.
20. 21. Musculi psoai parvi
h.
22. Museulus phreni-
cus h.
IX.
Muscular insertions on
os sacrum.
ss Musculus glutaeus ex-
ternus.
2.3.4. Musculibicipites femo-
ris h.
o Musculus semitendino-
sus hb.
6.7.8.9. Musculi levatores cau-
dae longi.
10—13. Musculi levatores cau-
dae breves.
14—31, Musculi multifidi spi-
nae h.
32—-37. Musculi longissimi
dorsi h,
38. 39. Musculi intertransver-
sales caudae.
40.41. Musculi coccygei h.
42, 43, Musculi depressores
caudae longi.
72
peat
44. 45, Musculi depressores
caudae breves,
46. 47. Museuli quadrati lum-
borum h.
48. 49. Museculus pyriformes
h., et
Museulus iliacus inter-
nus h,
ey
Muscular insertions on
costa prima.
1. Musculus ilio-costalis h.
Musculus levator scapulae h.
3. Musculus serratus anticus
major h,
Musculus scalenus posterior.
Musculus scalenus anterior
et medius,
6. Musculus transversus costa-
oe
rum.
7. Musculus intercostalis ex-
ternus.
8. Musculus intercostalis inter-
nus.
9. Musculus pectoralis parvus,
XI.
Muscular insertions on
costa nona.
; Musculus levator costae h.
3. Musculi ilio-costales h.
5. Musculi intercostales ex-
terni.
6. 7. Musculi intercostales in-
terni.
8. Musculus serratus pos-
i ticus superior h.
9. Musculus obliquus exter-
nus abdominis h,
10. Musculus longissimus
dorsi h.
ine Musculus phrenicus h,
-XIL
Muscular insertions on
| costa octava decima.
ih, Museulus levator costae
h,
2. 3. Musculi intercostales ex-
terni.
| 4, Musculus intercostalis in-
ternus,
| 5. Musculus ilio-costalis h.
6. Musculus longissimus
dorsi h.
wie Musculus retractor costae.
8. Musculus serratus posti-
cus inferior h.
9. Musculus obliquus exter-
nus abdominis h.
| 10. Musculus quadratus lum-
| borum h. ;
1B Museulus pscas magnus —
h,
12. Musculus phrenicus h.
TS: Musculus transversus abe
domninis h.
14. Musculus obliquus inter:
nus abdominis h.
XIII.
Muscular insertions on
sternum.
pa Musculus cutaneus colli.
2: Musculus ~_sterno-maxil-—
laris.
3. Musculus sterno-hyo-—
ideus h., et .
Musculus sterno-thyreo-
ideus h-.
4,—9, Musculi intercostales
interni.
10.:11. Musculi sterno-hume-
° rales.
12. 13. Musculi sterno-apo-—
~ . neurotici.
Musculi pectorales parv
j
| 16.
18.
20,
22.
24,
25.
17. Musenli pectorales
magni. |
19, Museuli recti abdominis |
h.
21. Musculi transversi cos- |
tarum.
33. Musculi transversi ab-
dominis h.
Musculus phrenicus h.
Musculus _ triangularis
sterni h.
XIV.
Muscular insertions on
scapula.
Musculus cucularis h.
ay Museculi abductores
longi.
Museulus _ pectoralis
parvus.
Musculus supraspina-
tus h.
Musculus infraspina-
tus h.
Musculus teres minor
h.
9.10. Musculi anconaei
longi h.
Musculus extensor
cubiti longus.
Musculus teres major
h.
Musculus biceps bra-
ehii h.
Musculus rhomboi-
deus major h.
Musculus levator sca-
pulae h.
Musculus serratus an-
ticus major h.
Museulus subscapula-
ris h.
Musculus tensor liga- |
menti capsularis.
Musculus
brachialis h.
coraco-
{
{|
i
\|
cat
XY.
Muscular insertions on
14.
i
humerus.
Musculi supraspinati h.
Musculi infraspinati h.
Musculus teres minor h.
Musculus abductor
longus.
Musculus anconaeus ex-
ternus h.
Musculi - brachiales
terni h.
Musculus tensor ligamen-
ti capsularis.
in-
Musculus mastoido-
humeralis.
Musculus sterno-hume-
ralis.
Musculi extensores meta-
carpi magni, '
Musculus extensor pedis.
Musculus anconaeus par-
vus h.
Museulus flexor meta- -
carpi externus.
Musculus subscapularis
h.
Musculus pectoralis
magnus
Museuli coraco-brachi-
ales h,
Musculus latissimus dor-
si h., et
Musculus teres major h.
Musculus anconaeus in-
ternus h,
Musculus flexor metacar-
pi internus.
Musculus flexor metacar-
pi medius.
Musculus perforatus h.,
et
Musculus perforans h.
74
10.
11.
12.
13.
14.
15.
16.
> 2 Rael a
Muscular insertions on
antibrachium.
Musculus anconaeus lon-
gus h.
Musculus anconaeus ex-
ternus h.
Musculus anconaeus par-
vus h.
5. Musculi extensores pedis. |)
7. Musculi extensores suffra-
ginis.
Musculus extensor meta-
carpi obliquus,
Musculus anconaeus inter-
nus h.
Musculus extensor cubiti
longus.
Musculus flexor metacarpi
medius.
Musculus ulnaris acces-
sorius.
Museulus biceps brachii
h.
Musculus brachialis inter-
nus h.
Musculus radialis acces-
sorius.
Musculus perforatus h.
XVII.
Muscular
insertions on carpus and
2
4,
a.
6.
metacarpus.
Musculus extensor meta-
carpi magnus,
3. Musculus flexor metacarpi
externus.
Musculus flexor metacarpi
medius.
Musculus interosseus me-
dius
f Musculus interosseus in-
ternus. |
12)
it
2
| 3.
Ge
rah
6.
Musculus interosseus ex-
ternus,
Musculus flexor metacarpi
internus.
Museulus extensor meta-
earpi obliquus.
XVITI.
| Muscular insertions on
phalanges.
Musculus extensor sut-
fraginis.
4, Musculi -
pedis.
Musculi perforati h.
Musculus perforans h.
extensores
XIX.
Muscular insertions on
1.2.3. Museuli
5. 6.
: ai
oS innominatum.
glutaei medii
et pyramidales h.
Musculus tensor fasciae
latae h,
Musculi glutaei externi,
Musculi obliqui externi
abdominis bh.
Musculus glutaeus inter-
nus.
Musculi
h.
Musculus tenuis femoris.
Musculi gemini h.
Musculus biceps femoris
h.
Musculus
dorsi h.
Musculns quadratus lum-
borum h.
Musculus obliquus inter-
nus abdoninis h.
recti femoris
longissimus
Musculus iliacus inter-
nus h,
Musculus pyriformis h.
75
: 20. Musculus psoas parvus h, | Ue: Musculus obturator ex-
21. Musculus obturator in- | | ternus bh.
terous h. | 18. Musculus quadratus
22. Musculus ischio-caver- | femoris h.
nosus h. | 19. Musculus psoas magnus
23. Musculus rectus abdomi- | | h., et
| nis h. | | Musculus iliacus internus
24, Musculus pectineus. | h.
25. Musculus adductor lon- | | 20. Musculus biceps femoris
gus h, h.
| 26. Musculus adductor mag- | 21. Musculus pectineus.
i nus. | 22. Musculus adductor lon-
27. Musculus obturator ex- | gus h.
ternus h. 23. Musculus adductor mag-
28. Musculus quadratus fe- | nus.
moris h. | 24. Musculus adductor mag-
29. Musculus semimembra- | nus, et
30. Musculus semitendino- branosus h.
sus h.
XX. XXI.
Muscular insertions on Muscular insertions on
os femoris. patella.
nosus h. Museulus semimem-
|
|
i
1
1
i]
1.2. Musculi glutaei medii h. |1, 2. Museuli recti femoris h.
3. Museulus pyramidalis h. | 3. Musculus biceps femoris h.
4. Musculus glutaeus inter- : y 4. Musculus tensor fas¢iae
ici: | latae h.
5. . Musculus glutaeus exter- { 5 Musculus vastus externus
nus. | h.
6. eat caning nina Satie 6. Museculas vastus internus
nus h. | h., et
7. Musculus vastus inter- Musculus cruralis h,
nus h. | |
8. Musculus cruralis h. XXII.
9. Musculus tenuis femoris. |) : ‘
10. 11. Musculi gastrocnemii h. | Muscular insertions on
12. Musculus perforatus h. | | tibia and fibula.
13; Musculus poplitaeus h. | aralesle Musculus biceps femoris’ h.
id. Musculus tibialis anticus | Be. Musculus peroneuste rtius.
h., et | 3. Musculus peroneus longus. |
Musculus extensor pedis. 4. Musculus soleus.
| 15. Musculus obturatorius | by Musculus flexor digitorum
internus h., et | pedis longus.
Musculus pyriformis h. | 6. 7, Musculi perforati h.
16. Musceuli gemini h. \ 8. Musculus poplitaeus bh.
%6
9. Museulus gracilis h. {
10. Musculus semitendinosus h. |)
+ XXIII.
{
|
i
| Muscular insertions on tar- |
Hl
|
sus and metatarsus.
de Musculi gastrocnemii h.
2 3. Musculi perforati h. |
4.—8. Musculi tibiales” antici.
| 9. 10. Musculi peronei tertii.
a) Musculus interosseus me- |
dius.
12. Musculus interosseus in-|
| ternus.
113. ‘Musculus interosseus ex-
ternus.
XXIV.
Muscular insertions on
phalanges.
Musculi interossei me-
dil.
co
Fe
on
dis.
Musculi perforati h.
8. Musculus perforans h.
o>
J
Musculi extensores pe- |
R00 reer
GROUP 149, CLASS 852,
ORDINARY NORMAL SCHOOLS.
1
PHOTOGRAPHS AND PLANS.
- 1 | Photograph of
: ‘DRAWING BY PUPILS.
G
gh | 8 | Brush drawing. 5
school buildings _» 9 | Pencil drawing. 2
and class-rooms. 8 | eet athtcs )
2 i 2 ‘
evi » 11 | Anatomical chart of
‘ ee ai Zoology and
4 | Photograph of 2 OBY ;
vant Botany. 12
| sehool buildings. I #
| 1 tablet | |
| Coy ee pa SOR | SEWING BY PUPILS.
| buildings and |» 12) Marukuke (a kind
class-rooms. 3) | | of padded belt). 1
G| Plan of — school | , 13 | Model of fuban (un-
buildings. 1 | | der-garment) for
gentlemen. 1
WORK 5Y PUPILS. | » 14} Model of xaga-
7 | Examination Papers. 13 | | guban (long un-
{
der-garment) for
ladies.
15 | Model of hitoye
(summer gar-
ment).
16 ditto
17 | Model of awase
(lined garment).
18 ditto
19 ditto
20 | Model of wataire
(padded garment).
21 | Model of padded
garments for
gentlemen.
22 | Model of padded
garments for
children.
23 | Model of haori-kap-
pa (a kind of
water proof coat).
a eeesrtoen a
24} Model of haori
(coat).
25 ditto
26 | Model of hifu (a
kind of coat).
27 | Model of hakama (a
'. |» kind of trousers).
28 ditto
Model of obi (belt)
for gentlemen.
30 | Model of obi (belt)
| for ladies.
381} Model of — tabi
(socks).
32 | Model of kyahan
(leggings).
33.
Model of momohiki
45
46
47
— 48 |
49
50
D1
52
D3
54
A
(a kind of panta-
loons).
Juban
ment),
Awase (lined gar-
ment).
(under-gar-
Wataire
garment).
Haort (coat).
Hakama (a kind of
trousers). |
Hakama (a kind of
trousers) for
children.
Obi (belt)
gentlemen.
ditto
(padded
for
Obi (belt) for ladies.
Model of kosode
(padded silk gar-
ments) for child-
ren.
Model of ceremoni-
al dress
boys.
ditto
Kosode (padded silk
garment) for
boys.
Tabi (socks).
ditto
ditto
ditto
Shirt.
Trousers.
Yogi (bed covering).
ditto
for
ae
1 pair:
1
4
fom
1 suit
5d
61
74.
| HANDIWORK BY PUPILS.
Embroidery.
Purse.
ditto
ditto
Yodarekake (bib).
ditto
ditto
Zukin (hood).
ditto
ditto
Fukusa (cloth used
for wrapping).
Oshiye (raised fancy
work).
ditto
HANDIWORK BY PUPILS.
Spoon.
Tea-ladle.
Tooth-pick box.
Stand for resting
chop-sticks.
Kettle-stand.
Flower-vase stand.
Fudezutsu (box for
resting writing
brushes).
Hai-fuki (section of
bamboo for put-
ting tobacco-
ashes in).
Chabon (tea-tray).
Letter holder.
Uo-aburi (instrument
for roasting fish).
| Jogo (funnel).
1
i |
1 |
i
punt
a
fod
81
84
85
86 |
87
88
89
90
91
92
Goma-iri —_ (instru-
ment for parch-
ing Sesamum
Orientale).
Water-pot used in
school-room.
HMibashi (tongs).
Hainarashi (instru-
ment for leveling
the ashes).
Meshakushi (a kind
of ladle).
Accompaniment to
a jobako (box for
keeping letters
when sent by a
messenger).
Accompaniment to
a luncheon box.
Mitsumegiri (tri-
angular-shaped
drill).
| nies.
|
Jizaigotoku (stand
for boiling
water in a kettle).
Fude-arai (dish for
washing writing
brushes).
Paper weight.
Okimono (article
placed on _ the
raised part of
the main room
for ornamental
purposes).
Inniku-ire (box for
keeping inniku,
100
101
102
103
104
105
106
107
108
- 109
110
111
112
79
Ma ne
ink for sealing
and stamping).
Ruler for black-
board.
Luncheon box.
Lamp stand.
(Withdrawn).
Frame for placing
insects.
Dumb-bell.
Apparatus for test-
ing the power of
gravity.
Geometrical figure.
ditto
Test-tube stand.
ditto
Apparatus for test-
the
ing expan-
sion, ete., of metals.
Apparatus for test-
ing inertia.
Apparatus for test-
ing the expan-
sion, ~ ete., of
metals.
Spoon used in
chemical experi-
ments.
Alcohol lamp.
Letter holder.
Apparatus for the
reflection of light.
Ladle.
Metallic horse for
explaining the
power of gravity.
—
See Re Re
— pape
114
115
116
117
118
119-
120°
121
|
G 113 |
|
TEXT BOOKS.
“Shinri-gaku’’ (Men-
tal Science), by M.
Sawayanagi and
N. Honda. 1..vo).
“ Joshi Kydiku-gaku,”
(Science of Kduea-
tion), by N. Ariga. 2 vols.
‘Nihon Kyoikushi,”
(History of Educa-
tion in Japan), by
S. Sato. 1 vol.
“Kyodiku Zenshi”
(History of Educa-
tion, Japan), by
S. Sugiura.
“Gakko Kanriho”
(School Manage-
ment), by J. Mine
and. K. lkoma.
“Shosaku Zenka
Kyojuho ” (Mode
of Teaching the
Whole Elementary
School Course),
by G. Hayashi, ‘I’.
Yamazaki, and I.
Maekawa.
6 vols.
1 vol.
2 vols.
(Withdrawn).
« Kokubungaku ”
(National Litera-
ture for Middle
School Educa-
ton), <7 Oy 5 ae
Takatsu and M.
Wada. aa
(Withdrawn).
“Riron Oy6é Sansi-
gaku” (Applied
Mathematics), by
Y. Noguchi. ye
136
sho” - (Algebra),
by R. Fujisawa
and K. Tijima
“ Shoto Rikagaku
_ Kydkasho” (Ele-
mentary Geome-
try), “by ~ Dr.
Kikuchi.
“ Shéyo
ho ”
cial
ing),
Taketa.
“ Nihon
(Japanese
graphy),
Mayebashi.
“ Bankoku Chiri ”
(Geography), by
T. Mayebashi.
Boki-
(Commer-
Book-keep-
DR, Tay
Chiri ”
Geo-
by T.
“Chibungaku” (Phy-
sical Geography),
by T. Fujitani.
“Nihon Rekishi”
(Japanese His-
tory), - by TT.
Amano and T.
Mayebashi.
“Bankoku Rekishi ”
(Universal His-
pony) Dy TE.
Amano.
“ Shokubutsugaku
Kyokasho” (Bo-
tany), by M. Miyo-
shi.
|“ Daistigaku Kyéka-
ae ||
2 vols.
1 vol.}
1
| ee
1 29 4
2 vols.
1 vol.
}
2 vols.|
i
{
140
141
“Tutst
142
143
144
145
kasho” (Zoolo- |
gy), by CO. Tijima. 2 vols.
“Futst Seirigaku :
Kydkasho ” (Phy-
siology), by M.* @
Katayama. 1 vol
“ Futst Shoku-
butsugaku Kyo-
kasho” (Bota-
ny), by M. Miyo-
shi. il
Dobutsu-
gaku Kyokasho”
(Zoology), by K.
Tijima. ing
“ Butsurigaku ”
(Physics), by 'T.
Kiyono.
- ie
2 vols.
“ Kwagaku
kasho ”’ (Che-
mistry), by T.
Takamatsu. Ds
**Sho Kwagakusho ”
(Elementary
Chemistry), by K.
Hisahara and G.
Oda. 2
* Nogaku Tstron”
(Agriculture), by
Kyo-
©. Ouchi. 1 vol.
“Kakei Bokiho”
(Household Book-
keeping), by the
Office of the ;
* Keizai Zasshi.”
2 vols. |
81
146
147
148
149
150
151
166
Drawing
“ Kakei Bokiho
Reidai” (Pro-
blems of House-
hold Book-keep-
ing), by the Office
of the ‘ Keizai
Zasshi.”
“Kaji Keizairon ”
- (Household Eco-
nomy), by H.
Fujita.
“ Futsu Saiho
Kyojusho” (Ele-
mentary Sewing),
by T. Watanabe.
(Withdrawn).
“Yochien Shokwa-
sha” (Kinder-
garten Songs), by
the Department
of Education.
“Futsi Taisoho”
(Common Gym-
nastics), by the
Department — of
Education.
‘“‘Hohei Soten” (In-
fantry Drill), by
the Military
Department.
Catalogue of Text-
books.
(Withdrawn).
APPARATUS OF TEACHING |
1 vol.
2 vols.
eo
1 vol.
d 39
4 vols.
q:
IN THE HANDIWORK
COURSE.
of ap-
99
bb)
”
paratus for teach-
ing handiwork.
(Withdrawn). 1
Drawing of. ap-
paratus for teach-
ing handiwork. 1
ditto. 1
(Withdrawn). 1
Drawing of ap- |
paratus for teach-
ing handiwork.
(Withdrawn). 1
Drawing of ap-
paratus for teach-
ing handiwork. 1
(Withdrawn). — 1
Drawing of ap-
paratus for teach-
ing handiwork. 1
(Withdrawn). 1
GARMENTS, CAPS, ECT., FOR
PUPILS’ USE. —
Cap. } Re!
Coat. 1
Winter garment. 1 suit
Summer garment. 1
Winter under-gar-
33
ment. bean
Summer under-gar-
ment. Brig
Shoes. 1
Stockings. 1
Cap. . 1
Boshior (cloth cover-
ing for cap). 1
)
4
G 264 | Winter garment. 1 suit || G@ 289 | Pencil Drawing. — 2 vols.
» 265 | Summergarment. 1 ,, | ,, 290: ditto a
55 266 | Coat. Dy. 2 208 ditto 1 vol.
», 267 | Winter under-gar-
ment. 1 suit MANUAL WORK BY PUPILS.
An 268 Summer under-gar- a 9992 Box for visiting F
ment. 4 1 , cards. :
%9 sie Kyahan (leggings). 1 > goa Seats aga: 1 |
® ond eeentiiae: 1 » 294 | Lantern. Eo
i » | Shoes. 4 » 295 | Box for putting tea
in. 1
PLANS, PHOTOGRAPHS, ETC., : Prep snigilen ae |
OF SCHOOL BUILDINGS. sn ed te kind of :
F ongs). }
Bete Map showing the , 997 ain 1
Sites of ‘schools 5, 298 | Santoku (three-
in the Prefecture legged iron stand |
of Akita. 1 used when boiling
5 he Photograph of tea in a kettle). 4
schore Nb abel naee OW) gag | aenin TOR aia |
ets ditto 2 i
, ; iron stand used
275 ditto 1 he :
E ditt 3. for boiling tea in |
” 276 2 S a kettle). 1 |
as Ty ditto 1 ;
979 diito g ||» 301 | Paper weight. i
i. 280 ditto 6 9 302 Hat-rack, 1 3
» 281 ditto 4 |, 303 | Rack for European |
a ee ditto a garments. |
» 288 ditto 3 |, 304 | Kusari (chain). 1
, 284 | Plan ofschool build- , 805 | Candlestick. i
ing. 1]., 306 | Marusazi (round |
Beas ditto 2 spoon). bic
» 3807 | Ana-saji (spoon
DRAWING BY PUPILS. with hole). ig
» 285 | Pencil Drawing. 2 vols. y, 3808 | Shell. 1
»» 286 ditto 2, |, 809 | Kurumi (walnut). is
3s 20% ditto: 1 vol.| ,, 310 | Semi (cicada). 1:
o ORR ditto 1 ,, | ,, 811 | Kant (crab). 1
324
| Octangular piece of
wood.
Straight ruler.
Wood for engrav-
ing.
Chiyegi (toy).
Jobako (letter box).
Box for cigarettes.
Tabako-bon (box in
which
utensils are kept).
Hon-basami (book
holder).
Triangular ruler.
Tsunagi-kuchikata (a
piece of jointed
wood).
Ori-tehon-ii (copy-
book holder).
Inniku-ire (box for
holding = inniku,
ink for seal-
ing and stamp-
ing).
Suzuri-bako (box in
which writing
utensils are kept).
Sumioki-dat (stand
for putting In-
dian-ink on).
Cha-bon (tea-tray).
Suzuri-dai (stand
for ink-stone).
Kumoita. (a kind of
tablet frame).
A piece .of wood in
which lines are
smoking -
a eee
330
331
=|
cut both vertically
and horizontally.
Looking-glass
frame.
Tabako-bon (box in
which smoking
utensils are kept).
Bon (round tray).
Suzuri-bako (box in’
writing |
which
utensils are kept).
Fudetate
writing brushes).
Kake-hanaike (han-
ging flower-vase).
Cha-hishaku (tea
ladle).
Looking-glass.
Clay-work.
ditto.
Mizu-ire (water-pot).
Box for soap. -
Cha-zutsu. (tea-box).
A small lamp.
Suzuri-bako (box in
which — writing
utensils are kept).
Tablet frame.
Retort stand.
Air-gun.
Tombo (dragon-tfly).
Instrument for test-
ting the power of
velocity.
Apparatus for hold- |
ing tubes used in
chemical experi-
ments.
(box for -
3
—
Se ee
84
G 351 Apparatus for test-
302
ing inertia.
Apparatus for test-
ing elasticity.
Right-angled trian-
gle.
Pentagon.
Parallelogram.
Cube.
Square column.
| Conic section.
Round column.
Kindergarten gifts.
Letter-lolder.
Box for jiku (a pair
of sticks on which
apictureisrolled).
Box for keeping
seals and stamps.
Kettle stand.
Makura (pillow).
Apparatus for the
analysis of water.
(Withdrawn).
Tabako-bon (box in
which smoking
utensils are kept).
Letter holder.
Tobacco box.
Model of joinery.
(Withdrawn).
Fudetate (box for
resting writing
|... brushes).
| Candlestick.
Apparatus for easy
bee
G 377-
379
» 880
(eels
382
» 883
» 884
B85
386
887
,, | 888
389
» 390
4, 391
392
» 893-
397
, 398
, 899
, 400
ae"
» 402
» 408
» 404
» 405
» 406
, 407
,, 408-
409
experiments in
physics.
(Withdrawn).
Ladle.
(Withdrawn). ~
Plane wood,
Ruler.
Geometrical figure.
ditto
ditto
ditto
ditto
Model of box show-
ing joinery.
Box for keeping
paper, ete.
Ampére’sapparatus.
(Withdrawn).
Gate card.
Hagoita(battledoor).
Ruler.
Wood joinery.
Small box.
Luncheon box.
Wood joinery.
Tabako-bon (box in
which smoking
utensils are kept).
Manaita (board for |
cutting and cleans-
ing culinary ma-
terials),
Tablet frame.
(Withdrawn).
i at
416
417
» 418
419
420
421
— 422
423
424
425
426
42:7
(Withdrawn).
Kakefuda (a tablet
hung at the gate).
Shokubutsuyen hyo-
satsu (a tablet
hung at the gate
of a botanic gar-
den).
Naruko (a kind of
scarecrow which
makes a noise).
Board - for making
paste on, with a
spatula.
Ruler.
‘Box for putting in
various kinds of
clothes, used by
young ladies.
Tsukegi-ire (a kind
of match holder).
Box for keeping
. rice-bran.
Box in which
katsuo-bushi (the
flesh of the bonito
driedand smoked)
is to be sliced.
Box for keeping
matches in.
Stand for resting
tubes used in
chemical experi-
_ ments.
Kindergarten gifts.
ditto —
ditto.
th ft DO
436
437
438
439
440
441
442 |
443
444
445
446
Test tube stand.
Box for keeping
tofu (a kind of
bean-curd).
Needle holder.
Suzuri-bako (box in
which writing
utensils are kept)
for pupils.
| Suzuri-bakofor home
use by the family.
Tabako-bon (box in
which smoking
utensils are kept). .
Luncheon box.
Tabako-bon (box in
which smoking
utensils are kept).
Stand in the shape
of a ship for
sharpening pencils.
Apparatus for calcu-
lation of fractional
numbers.
Kitchen utensils.
Household — furni-
ture.
Writing utensils.
Toys.
Geometrical figure.
Cube.
Manaita (board for
cutting and cleans-
ing culinary
materials).
‘Wooden hammer. _
Box for sharpening -
pencils.
85
86
G 447 | Suzuri-bako (box in |
which writing
utensils are kept).
448 | Tabako-bon (box in
which smoking
utensils are kept).
449 | Box for keeping
paper in.
450 | Small box with lid.
451 | Box with lid for
keeping — white
and black pencils.
452 | Ruler.
453 | Apparatus for test-
ing the power of
oravity.
454 | Tray.
455 | Hai-fuki (section of
bamboo for put-
ting in tobacco
ashes).
456 | Cup.
457 | Tea box.
458 | Saucer.
459 | Metal cup.
460 | Paper weight.
tera | (Withdrawn). .
463 | Angular column.
464 | Box for sharpening
pencils.
465 | Suzuri-bako (box in
which writing
utensils are kept).
466 | Shichishoku-koma
_ (top).
467 ; Ruler.
joinery.
468 | Konrintsugx' (wood
bo
oa
39
‘Geometrical figures.
Revolving reflection
mirror.
Electroscope.
(Withdrawn).
Battery.
Tablet frame.
Box for collecting
insects.
Ruler.
ditto
ditto
ditto
Capstan.
Inclined tower.
Ruler.
Pendulum.
Inclined plane.
Level.
Apparatus for test-
ing the power of
eravity.
Apparatus for test-
ing central
gravity.
(Withdrawn).
Wood joinery.
clitto
ditto
ditto
ditto
ditto
Tabako-bon (box in
which smoking
utensils are kept).
Hagoita — (battle-.
adaor)s 52:
| (Withdrawn).
or
a ee
ee
1
1
1
i
kK
1
L
-
1
1
Kukedai (instru-
ment for sewing).
Suzuri-bako (box in
which writing
utensils are kept).
Compass.
(Withdrawn).
Skewer.
Chopsticks.
Needle for making
nets.
Indian-ink holder.
Water pot.
Spoon.
Thread spool.
Hainarashi (instru-
ment for leveling
ashes).
Board for making
_ paste on.
Kettle lid.
Suzuri-bako (box in
which writing
utensils are kept).
Stand for resting
flower-vase.
Ohiritori (a kind of
dust pan).
Tabako-bon (box in
which smoking
utensils are kept).
Wooden hammer.
Board on which
- drawing is done.
Test-tube stand.
Tablet frame.
| Lamp stand.
Se
a
(Withdrawn). |
Ladle.
Lamp stand.
Hexagonal box.
Hexagonal jar.
Letter holder.
Photograph holder.
Ruler.
Apparatus for easy
experiments in
physics.
(Withdrawn).
WORK BY TEACHERS.
Wood for engraving.
ditto
Piece of wood on
which lines are
eut.
ditto
ditto
ditto
Wood joinery.
ditto
Piece of wood in
which several
holes are cut.
Small box.
Box.
Tabako-bon (box in
which smoking
utensils are kept).
Test tube stand.
Small box.
Tray.
Suzuri-bako (box in
which writing
utensils are kept).
Se
6
a
88,
G 562 |. Tabako-bon (box in
which smoking |
. utensils are kept). 1
, 563 | Box with glass lid. 1
» 964 | Suzuri-bako (box in |
which — writing |
utensils are kept) |
with drawers. 1
» 965 | Geometrical figure. 1
» 566 ditto 1
i OT ditto 1
» 968 | Wood joinery. 1
E33, OOO ditto 1
» O10 ditto 1
wee ditto 1
», 9072 | Paper string work. 1
3 O19 ditto 1
» ol4 ditto 1 |
” 575 " ditto 1
» 576 ditto 1
ae sy ditto 1
» 08 | Ditto (hand basket). 1
CROUP 149,
:
eee
THE HIGHER NORMAL SCHOOL.
ES
G 591 | Models of wood-
work in the
Handiwork
Course.
», 992 | Drawings of speci-
mens of wood-
work in the
|
42 eases.'|
G 579 | Ditto (carpet).
, 580] Ditto (luncheon |
box). Ly
» 081 | Ditto (a kind of
cap). Ts
, 682 | Ditto (luncheon
| box.) 1
WORK BY PUPILS.
» 983 | Raw silk. 1 case
3, 984 | Silkworm’s cocoon. 1
» 985 | Kusawata (raw cot- aft
ton). Le.
», 986 | Ai Gndigo). Lom
» O87 | Wheat. 1
», 588 | Silkworm’s cocoon. 1
» 989 | Silkworm. 1
CALENDAR.
» 090} Calendar of Or-
dinary Normal
School. 1
CLASS 852.
_ Handiwork
Course. 16
G 593 | Tools and apparatus
for woodwork in
the Handiwork
Course. 5D
39
33
596
597
598
599
600
601
602
ELEMENTARY SCHOOL AT-
TACHED TO THE HIGHER
NORMAL SCHOOL.
School regulations. 1
Detailed items
relating to teach-
ing in the Ele-
mentary School
Course. 1
Subjects of study
in the Middle
School Course. 1
Subjects of study
in the Course of
Drawing. 1
Items showing by
practical exam-
ples the standard
of instruction of
Drawing in the
Elementary School
attached to the
~ Normal School. 1
Items showing by
practical exam-
ples the standard
of instruction of
Drawing in the
Middle School
Course.
Drawing by pupils
in the Element-
ary School Course.
Drawing by pupils
‘in the Middle
School Course.
Instruments for
drawing.
27
47
35
1 set.
G
9
89
603 | Photograph. | 1
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
Botanical models. 2 sets
Explanation to the
above. 1
SINGLE-CLASSED SCHOOL
ATTACHED TO THE HIGHER ©
NORMAL SCHOOL.
Report. 1
Photograph. 1
Sewing by pupils. 2 sets
TOKYO EDUCATIONAL MU-
SEUM ATTACHED TO
THE HIGHER NOR-
MAL SCHOOL.
Photograph of the
museum. 1
Toys. 14 kinds
Charts of morals
for Elementary
Course with five
explanatory notes.
Chart of morals
for Elementary
School Course.
ditto
Zoological
mens.
Botanical = speci-
mens. 109 ,,
Specimens of Japan-
ese timber trees.
Mineralogical speci-
mens.
Models of veget-
ables and fruits.
Specimens _ show-
ing the processes
55
1 vol.
speci-
19 kinds
50 ;,
100 ,,
52
90
of silk-worm rear-
ing.
G 620 | Specimens of
various objects for
1 case] G 621 | Magic
object lessons.
lantern
slides.
er ito 3 00 t-te
GROUP 149,
CLASS 85l.
HIGHER FEMALE NORMAL SCHOOL.
Calendar.
Table showing the
organization of
the school.
Statistical table.
Plan of the school
buildings.
Photograph of the
school buildings.
School regulations.
Directions for pupil.
. Blank paper.
Model of teacher’s
desk in class
room.
Model of pupil's
desk and chair in ~
class room.
Model of pupil’s
desk in studio.
Model of a shelf to
be placed on
pupil’s desk in
studio.
Model of a book-
1
—
633
634
case in ‘pupil’s
studio.
Model of pupil’s
desk in the bio-
logical class
room.
Model of pupil’s
desk in the class
room for drawing.
Model of pupil’s
desk in the class
room for writing.
Model of pupil’s
chair in the class
rooms for writing,
drawing and bio-
logy.
Model of desk in
the class room
for sewing.
Model of pupil’s
desk in the class
room for singing.
Apparatus for sew-
ing.
1 case
100
dl
2 cases.
39
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
Apparatus for exer-
cise. 1 case
WORK BY PUPILS.
Map.
Goemetrical figure. ti es
Hakama (a kind of
trousers). 1
Haorz (coat). 1
Shitotsumi (garment
for children). 1
Sodenashi-haori (coat
without sleeves). 1
Yukata (summer
garment). 1
Drawing. 1 vol.
Ditto (tablet). 1
HIGHER FEMALE SCHOOL
ATTACHED TO THE
HIGHER FEMALE
NORMAL SCHOOL.
Regulations of the
school.
Blank paper.
Model of pupil’s
desk and chair in
class room.: 1
1 vol.
WORK BY PUPILS.
Drawing. 1
Ditto (in tablet). 5
Hifu (a kind of
coat). 1
Hanyeri (a kind of
collar for ladies). 1
. ditto 1
Hondachi-wataire
(padded gar-
ment). 1
» 664.
91
Hanyeri (a kind of
collar) for ladies. 1
Juban (under-gar-
ment). 1
Hitoye (summer gar-
ment). 1
Hand bag. 1
‘GROUP 149. CLASS 842.
ELEMENTARY SCHOOL AT-
TACHED TO THE HIGHER
FEMALE NORMAL
SCHOOL.
Regulations of the
school.
Blank paper. sh
Model of desk and
chair in class
room for pupils
in the higher
course. 1
Model of desk and
chair in class
room for pupils
in the ordinary
course. 1
Specimens showing
the processes of
a
silk-worm rear-
ing for object
teaching. 1 case
Specimens showing
the processes of.
making Jude
(writing brushes),
for object teach-
ing.
Specimens showin
the processes of) ,,
. 92
665
666
667
668
669
670
671
672
making sumi
(Indian-ink), for
object teaching.
Specimens showing
the processes of
making paper, for
object teaching.
Chart showing the
processes of mak-
ing paper, for ob-
ject teaching.
Chart showing the
processes of mak-
ing earthenware,
for object teach-
ing. :
Chart showing the
processes of mak-
ing lacquerware,
for object. teach-
ing.
Chart for showing
_ the processes of
making earthen-
ware, for object
teaching.
Chart for showing
the processes of
making lacquer,
for object teach-
ing.
Specimen show-
ing the process-
es of producing
rice, for object
teaching.
Specimens show-
ing the processes
1 case.
673
674
675
676
677
678
679
680
681
682
683
684
685
686
of making tea, for
object teaching.
Chart showing the
processes of pro-—
ducing rice, for
object teaching. 5
Chart showing the
processes of mak- -
ing tea, for ob-
ject teaching. 2
DRAWING BY PUPILS.
Drawing. 2 vols.
ditto. 3
SEWING BY PUPILS.
Elementary sew-
ine. 3
Kinchaku. (purse). 1
_ Yodarekake (bib). E
Datkoku-zukin (a
kind of hood). 1
Juban. (under-gar-
ment). f
Shitotsumi-hitoye |
(summer gar-
ment for child-
ren). 1
Mitsumi-awase
(lined garment
for children). 1
Yotsumi-hitoye (sum-
mer garment for
children). 1
Hondachi-awase
(lined garment
for gentlemen). 1
Hondachi-wataive
(padded garment (a kind of hemp). 1
for ladies). 1 || G 693 | Straw work. 2
G 687 | Bead-work. 3 ||,, 694 | Pasting. 2
» 688 | Embroidery. 10 || ,, 695 | Hari-tato (a piece of
» 689 | Paper cutting. 3 folded paper in
,, 690 | Hand ball. 3 which needles are
» 691 | Paper folding. 5 kept). 1
» 692 | Box for keeping o
Sn deh ae a os — a ed et et ee
GROUP 149, CLASS 841.
KINDERGARTEN ATTACHED TO THE HIGHER
FEMALE NORMAL SCHOOL.
G 696 | Photograph of the
kindergarten
buildings (tablet).
» 697 | Regulations of the
Kindergarten.
Blank paper. 1
Model of infant’s
desk and chair. e ;
Kindergarten songs. 1
Materials for the
, 698 | Table showing the Kindergarten
distribution of gifts. 1 case
the weekly hours » 103 | Toys. 2 cases
of training for ,, 704 | Specimens of work
each group of in- done by infants. 2
fants. E,,. 406 ditto - 3 vols.
Or
CROUP 149, CLASS 852.
HIGHER COMMERCIAL SCHOOL.
school properties,
H 11 Schedule of studies. 3 | |
expenditures, etc. }
- 2 | Table showing
94
AMHR
Collection of forms
and ducuments
used in the
Domestic Practi-
cal Department.
Ledger.
Journal.
Cash Book.
History and regula-
tions of the
Higher Commer-
cial School.
Plan of the Higher
Commercial
School.
Photograph
seum).
Ditto
room).
Ditto
room).
Ditto (Practical
Department).
Ditto (class room).
Photograph (drill
ground).
Ditto (boat races).
Collection of forms
and documents us-
ed in the Foreign
Practical Depart-
ment.
(mu-
(lecture
(reading
a
30
ee
EE ULE
” 18
» 19
» 20
” 21
» 22
» 28
i ecee
» 20
» 26
o oeeat
oP) 28
» 29
» 930
” 31
» 32
” 33
» of
» 3d
» 36
» 37
» 38
3, 09-716
General Ledger.
Journal.
Deposit Ledger.
Stock Ledger.
Collection Register.
Discount Register.
Passed Collection.
Foreign Tickler.
Dividend Book.
Offering Book.
Marine Policy Re-
gister (Vessels).
Ditto (Merchan-
dise).
Fire Policy Regis-
ter.
Insurance
Book.
Passenger’s List.
Freight List. —
Custom House Mer-
chandise Regis-
ter (Import).
Ditto (Export).
Custom House Ves-
sel’s Register.
Custom House Cash
Book.
Cash
Auction Sales Book.
Domestic Tickler.
(Withdrawn).
TE OS
a
bk ek dpe
17
78
79
80
81
82
83
84
85
GROUP 149,
CLASS 852,
COMMERCIAL SCHOOLS.
Papers for practical
business purpos-
es.
Various documents
in Japanese and
European styles.
Pictures of mer-
chandise.
Drawing of Practi-
cal Department.
Plan of | school
buildings.
Plan of Practical
Department.
Various documents
used in banks.
Gentleman’s._ fur-
nishing business.
Documents relating
to retail business.
87
88
89
90
91
Documents relating
to the sale of
fancy goods.
Calendar of the
Kobe Commercial
School.
Forms and docu-
ments used in the
Practical Depart-
ment.
Wholesale day-
goods business.
Brief description of
the Akamagaseki
Commercial
School.
Book relating to
the Export of
Japanese Tea to
the United States
of America.
96
GROUP 149, CLASS 852.
TOKYO TECHNICAL SCHOOL.
DYENG AND WEAVING » 21 | Potassic Iodine. 1 kilo.
COURSE. » 22] Purified Rape Oil. 1
ie Sees ah , 23 Ultramarine Blue. 1 ,,
» 2] Cloth for curtain. 24” eaters: : "9
ee 3 | Handkerchief. 13h ;
a 4 | Cloth for umbrella. 2 COURSE OF MECHANICS.
% 5 | Specimens showing » 26 | Drawing (wood
various kinds of turning lathe). I
woven cloth. 2 vols. ,, 27.| Ditto (slotting |
6 | Specimens showing machine). 2
various kinds of » 28] Drawing (portable
printed cloth. ari, engine). 3
EARTHENWARE COURSE. ||,, 29 Ditto (turbine). 1
» 7 | Osara (plate). 3 ||, 80 | Ditto (Jackard
» 8 | (Withdrawn). 7 machine). 1
» 9 | Water-pot. uf SPECIMENS OF WOOD WORK
» 10 Koro (censer for IN THE MECHANICAL
burning incense). 1 COURSE.
» 11 | Chiusara (plate). 4||., 981 | Joints. 14
» 12 | Flower-vase. 2\|, 982 | Handles. 3
» 18 | (Withdrawn). », 33 | Wooden tray. 1
» 14) (Withdrawn). » 341] Table. 1
» 15) Large basin. 1|,, 35 | Pulleys. 1 set.
» 16 \(Withdrawn). » 986} Worm and worm-
» 17 | Flower-vase. 1 wheels. Tove
gk | Horo (censer for » 9 | Spur wheels. ER
burning insense). 1 » 98 | Bevel wheels. A Soper
» 19 | Ornamental article. t > .88" |b Plamber black ree
COURSE OF APPLIED » 40 | Cock. 1 ,,
CHEMISTRY. » 411] Valve.’ ys
, 20 | Iodine. 2 kilos. 42 | Piston. 5
I
43 | Air hole grates.
44
45
46
47
48
49
50
51
52
53
54
5d.
56
57
58
59
60
61
62
3 sets.
CAST-WORK IN THE ME-
CHANICAL COURSE.
Air hole grates. 3 sets.
Gun-metal chain. ‘oe
Pulley. ; hay
Worm and worm-
wheel. \ ae
Spur wheels. se
Bevel wheels. ‘oe
Japanese tea-pot. 1
Flower-vase. 2
SMITHY IN THE MECHANIC
: COURSE.
Chisel (Japanese
form). 3
Hammers. +
Bolts and nuts. 3 sets.
Crank shaft. 1
Spanner. 3
Spring. 3
Japanese sword. — 2
Rivetted joint. 15
Boiler tube fit-
tings. 1
COPPER WORK IN THE
MECHANIC COURSE.
Lead pipe joints. 3
Copper spiral pipe. 1
39
99
63
64
65
66
67
68
69
70
71
72
73
74
75
76
(7
78
79
80
81
82
Air chamber.
Model of boiler.
Cap of newel. |
Flower-vase.
Serileer blocks.
Straight edge and
square.
Calipers.
Gauges.
Ball valve.
Surface plate.
Injector.
Model of link mo-
tion.
Model of Hould-
worth’s different-
ial motion.
Zaguri (hand wind-
er).
Model of winder.
Model of re-wind-
er.
DRAWING.
Instrumental draw-
ing.
Mechanical draw-
ing.
Designs for dyeing,
weaving, and pot-
tery.
(Withdrawn).
98
APPRENTICE’S SCHOOL ATTACHED TO THE
TOKYO TECHNICAL SCHOOL.
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
WOOD-WORK COURSE.
Knob.
Tray for cakes.
Tobacco box.
Ball.
Ring.
Tea-cup stand.
Tea-tray.
Box in which
smoking utensils
are kept.
ditto
Kibana (wooden
supporter).
Specimens of ram-
ma-sukashi (open
ornamental work
over the screens
which form the
partitions be-
tween the rooms
of a house).
Specimens showing
various kinds of
wood joints.
Specimens’ of
wooden joints.
Specimens of karato
(door in Chinese
style).
Specimen of shdji
(sliding screen).
bo bw eH eK bp po
12
METAL-~WORK COURSE.
Round stand.
Fire-shovel.
Pulley.
Pan.
Instrument
leveling ashes.
ditto
Amishakushi (a kind
of net-work ladle).
Ladle.
Tea-cup stand.
Indian-ink stand.
Latch.
Handle.
Hinges.
Cup for rinsing the
mouth.
Bent nails.
Kasugai (a kind of
of clamps).
Ring.
Chain.
Tongs.
Ruler.
Calipers.
Rasen (screw).
Merasen (a kind of
screw).
for
Screw driver.
Tongs.
Nail extractors.
bo DO e po
a
1
1
1
ye
1
2
2 sets.
1
2
mee be Re
a
124
125
126
127
128
129
130
131
182
133
134
135
136
145
146
147
148
149
150
Specimens of sur-
face plate.
Tongs.
Hinges.
Handles.
Lock.
Tea-kettle.
Tron-ketile.
Hook.
Hammer.
Broad-axe.
Chisels.
Ruler.
ditto
2
1 set.
1,
2 sets.
2
Se pe ee eS ee
33
39
39
137
138
139
140
141
142
143
39
144
Calipers.
Hand drill.
Brace.
Cocks.
Capstan.
Chozubachi (basin of
water for washing
the hands kept
near the privy).
Easy printing
machine.
Drawing.
Bell-tower.
GROUP 149, CLASS 852.
Drawing (in folding
screens).
Clay works (tablet).
A. kind of orna-
mental article.
Tame Goose.
Small ornamental
article.
Saru-mawashi (one
who leads a mon-
key
show his tricks
for a livelihood).
about to
151
152
153
154
155
156
157
158
159
160
TECHNICAL SCHOOL IN THE PREFECTURE
OF ISHIKAWA.
Ornamental article.
Photograph holder.
Tray.
ditto
ditto
ditto
Nikuchi (small box
for keeping ink
used for sealing
and stamping).
ditto
Tray.
Cigarette box.
mH be & DO
He
Se ee ee
ae
Engraving.
ditto
Flower-vase.
ditto
Plate.
Coffee plates and
cups.
A pair of basins.
A square shaped
plate.
Plates for cakes.
Kwannon (a Bud-
dhist deity).
Plate.
ditto
Censer for burning
incense.
Flower-vases.
Candle-sticks.
Embroidered cloth.
ditto
(Withdrawn).
Embroidered cloth,
ditto
ditto
ditto
Tray.
ditto
Specimen showing
the. art of gold
lacquering.
Tobacco box on a
tray.
ditto
Tray.
ditto
ditto
ditto
mb be He
1 set.
2 ON
1
2
1
1
eae
OH eS ee
203
204
205
206 |
207
208
Tray.
Cigarette box.
Tray.
ditto
ditto
ditto
ditto
Tray for censer.
(Withdrawn).
ditto
Specimens showing
various kinds of
cotton thread
dyeing.
Specimens showing
various kinds of
woolen thread
dyeing.
Specimens showing
various kinds of.
cotton cloth dye-
ing.
Specimens showing
various kinds of
woolen cloth dye-
ing.
Calico.
Specimens showing
various kinds of
silk stuff dyeing.
Specimens showing
various kinds of
silk thread dye-
ing.
Specimens showing
various kinds of
cotton thread
dyeing.
Pt fet et
>
209 | Tray for cakes.
210 ditto :
211 | Specimens showing
various kinds of
paper lacquering.
en, tay.”
213 | Stand for putting
bo bo
pt
ao
+%
9
39
214
215
216
217
cakes on.
Stand for putting
cakes on.
Small cigarette box.
ditto
Stand for placing
flowers on. |
0S OTT
GROUP 149.
TOKYO FINE ART SCHOOL.
CLASS 852.
———
DRAWING COURSE. |
1 | Vimakitta, after
Ririomin.
2 | Apes, after Sosen. |
83 | Dragon, after Gek- -
kwan.
4 | Landscape,
Sessiu.
5 | A Scene from the
“ Kasuga-Genki.”
(a roll illustrating
the foundation of
Kasuga Temple).
after
6 | Landscape, after
Shinbun.
7 | Figures under a
Pine-tree, after
Masanobu.
8 | Tiger, after Mokkei.
9 | Tekkai-sennin, after
Ganki.
—
font
—
a
—
J
39
39
3”
3)
39
39
10
11
12
13
14
15
16
17
18
19
Falcon, after
_ Chokuan.
Carps, after Toko.
Bird and Flowers,
after Sesson.
Arhat, after Ririo-
min. .
A Scene from the
Roll of Bandai-
nagon, after
Mitsunaga.
Maples, after Koho.
Jizo, after an early
Kose master.
A Scene from the
Roll of Saigyo,
after Sukeyasu.
Wisterias, after
Koho.
A Cock, from nature.
101
ae!
=
102
20
21
22
23
24
25
26
27
28
29
30
31 |
32
33
34
35
36
37
38
39
Serranus Marginalis
and 4ji, (name of
a fish).
ditto
Wild Ducks.
Lobster with Shell-
fish.
ditto
Design for a chisel- |
ed incense burner
and a cloisoné
flower-vase.
Design for a lac-
quered cabinet.
Warrior playing the
Biwaat the Temple
of Chikubushima.
New Year’s Sport.
Goddess Benten.
Landscape with
Water-fall.
A Summer Land-
scape.
Autumnal Festival
in the 17th Cen-
tury.
Summer Landscape.
Horned Owl.
Sparrows.
Summer Landscape.
Snipe.
Cherries with Phea-
sant.
ENGRAVING COURSE.
Models from Simple
Engraving to Re-
lief Engraving. ©
el el oe
36
39
40
41
42
45
44.
45
46
47
48
49
50
51
iy
53
54
55
Models from Re-
lief Engraving to
Simple Relief.
Flowers, Birds and
Animals in Low
Relief.
Animals and Figures
in Low Relief.
Models from Sim-
ple Engraving to
Relief Engraving.
Models from Relief
Engraving to Sim-
ple Relief.
Flowers, Birds, and
Animals, in Low
Relief.
Figures and Ani-
mals in Low Re-
lief.
Models from Simple
Engraving to
Simple Relief.
Models from Re-
ponsé Work to
Inlaid Flower
Pattern Work and
High Relief.
Tools used in metal-
work.
Models showing the
art of coloring
bronze.
Lion.
Peony.
Heron.
Dragon.
Kwannon.
30
24
11
60
48
48
12
12
131
et et et et et CO
7 Lee ee
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
Flower-vase with
wave and _ fish
pattern. 2
Models from Flat
Lacquer Work to
Raised Lacquer
Work. 15
Models from Flat
Polish to Raised
Lacquer Work. 10
Models from Raised
Polish to High
Lacquer Work. 5
Models _ showing
different methods
of Lacquer work. 70
Collection of stu-
dent’s Work. 1
Tools used in Gold
Lacquer and
General Lacquer
Work. 66
ENGRAVING COURSE.
Figures and Ani-
mals. 4
Figures, Animals,
and Buddhist
Idols. 6
Fisherman.
Buddhist Priest
playing the biwa.
Geese.
Leopard.
Cat.
Ox.
Dog.
Wild Boar.
Hare.
aN
ee He ee Oe
85
86
87
88
89
90
91
92
103
Deer.
Hare.
Ox.
Hare.
Rat.
Horse.
Tortoise.
ft
ART INDUSTRIAL COURSE.
Chiseled catfish in-
laid in yellow
copper. 1
Chiseled catfish in-
laid in copper. 1
Chiseled birds in-
laid in copper. 1
Chiseled monkey
inlaid in copper. 1
Chiseled snow,
moon, and flowers
inlaid in copper. 1
Inlaid melons en-
graved on copper. 1
Chiseled peony in-
laid in copper. 1
Chiseled vreishi (a
species of hard
mushroom) inlaid
in copper. 1
Chiseled fox inlaid
in iron. 1
Chiseled stork on
shibuicht ground. 1
Chiseled birds with
cherries on shibu-
_icht ground. 1
Chiseled peony on
shakudo ground. 1
104
J 98 [{ Chiseled
9
i
9?
94
95
96
swallow
with willow on
silver.
Chiseled hare on
shakudo.
Chiseled distaff on
shakudo.
Chiseled deer with
maples on copper.
J 97 | Chiseled fancy
1 chariot on shaku-
dé.
98 | Chiseled heron with
snow on shibuichi
1 ground,
1 || 5,
KYOTO FINE ART SCHOOL.
DRAWING.
Flowers and trees.
Flowers and insects.
Fruits.
Ancient pictures.
Flowers of the four
seasons.
Birds and flowers.
The noted places at
Kyoto.
Figures.
| Design for sculp-
ture.
Design for bronze
work.
J 109 | Design for lacquer
1 work.
1||,, 110 | Design for porce-
‘if lain.
1|,, 111 | Design for pottery.
yy Ld ditto
1||,, 118 | Design for embroi-
1 dery.
» 114 | Design for Yuzen.
1] ,, 115 | Design for woolen
1 staff.
» 116} Design for cloi-
rd
sone.
”
jt
oO OR CO DS
- Shichiriki.
105
_ GROUP 149, CLASS 852.
TOKYO MUSIC SCHOOL.
CLASSICAL MUSICAL IN-
STRUMENTS.
Kaeurabue (used in
sacred dancing).
Ryiateki.
Komabue.
ee
Hosho.
Wagon (Harp of six
strings). 1
Koto (a kind of harp
or lyre). 1
Biwa (lute with four
strings). 1
Taiko (drum). ul
Kakko (a kind of
drum). 1
Shoko (a kind of
war-drum). 4!
Shakubyoshi.
Rikkan. lige
POPULAR MUSICAL INSTRU-
MENTS.
Shakuhachi (a kind
of flute or pipe). 1
Koto (a kind of
harp or lyre). 1
ditto i
Kokyu (three-
stringed violin). 1
Shamisen (guitar). 1
1 set.
K 19
20
21
22
23
24.
25
26
27
28
29
30
31
32
33
34
30
36
37
38
39
Gidayi-shamisen
(guitar for drama). 1
Gidayua-Kendai (mu-
sic stand for dra-
may). es
Nobue. 1
Notaiko. -
Otsuzumi (large
drum). £
Kotsuzumi (small
drum). 1
CHINESE MUSICAL INSTRU-
MENTS.
Shinteki.
Dosho.
Gekkin.
Genkan.
Biwa (four-stringed
lute). 1
Teikin. 1
Keikin. 1
Kokin. d Rs
1
1
1
a a
Jahisen.
Yokin.
Mokkin.
Taiko. 1
Hakuhan. 1 set.
EUROPEAN MUSICAL IN-
STRUMENTS.
Organ.
ditto 1
40
41
42
43
th
45
46
47
48
49
50
51
52
52
54
58
56
57
58
59
60
Organ.
Violin.
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
ditto
fet kf ee
DRAWINGS AND PICTURES
RELATING TO MUSIC.
Folding screen.
Tablet.
ditto
Roll.
Photograph of mu-
sicalinstruments, 40
Plan of the Tokyo
Music School. 1
BOOKS RELATING TO
MUSIC.
“ Gagaku Setsumei-
sho (Explanation
of Classical
Music). 1
“Zokugaku Sen-
ritsuk6”’ (Book
on Popular
Music). 1
“ Gagaku Onkai
Setsumei”’ (Book
on Popular
Music). 2
** Gazoku Gakki
Cho-on” (Tuning
bo = & bo
29
99
3)
99
9)
99
3)
9
39
9
61
62
63
64
65
66
67
68
69
70
71
72
73
74.
75
of Classical and
Popular Musical
Instruments). i
ditto 3 cases
Examination papers
of the pupils of
the Tokyo Music
School. 1
Calendar of the
Tokyo Music
School. 1
Ditto (in English). af
““Shokasha” (Col-
lection of Songs). 3
‘*Yochiyen Shoka-
sha” (Collection
of Kindergarten
Songs). t
“ Chuto Shokashia”
(Collection of
Middle School
Songs). 1
Chart of Songs. 3
“Sokyoku Shia”
(Collection of
Songs for Koto-
Playing). 1
“ Ongaku Mondo”
(Book on Music). 1
“Ongaku Shinan” .
(Guide for Music). 1
“ Gakkyoku” (Music-
al Notes). 1
Brief Report relat-
ing to the Result
of Musical Inves-
tigations. 1
Ditto (in English). 10
99
29
39
bbe
75
76
77
78
19
80
Book on Musicians.
“Ongaku Ryakkai”
(Book on Music).
“Seikyoku Ruisan ”
(Book on Musical
Notes).
“Shuko Jusshu”
(Collection of
Antiquity).
“Kabu Ongaku-
shi” (Brief His-
tory of Singing
and Dancing).
“Ongaku Michi-
shirube ” (Guide
_ for Music).
46 K 81
G4 182
6
788
18
hi = 88
215, 85
2
“ Ongaku
Riron ”
(Theory of Music).
“Shimpen Ongaku
Riron” (Theory
of Music, New
Edition).
“Ongaku Rigai”
(Treatise on
Music).
“Nogaku Zushiki”
(Representation
of no-dancing).
“ Hompo Zokugaku
Fu” (Popular
Musical Notes of
Japan).
00h GO
GLOUP 149. CLASS 852.
AGRICULTURAL SCHOOLS.
Photograph of
school buildings.
Plan of school build-
ings.
Fugo (a kind of
straw bag).
Straw mattress.
Mokko (basket for
carrying earth).
Warabitsu (straw box
for boiled rice).
Mino (a kind of
straw coat).
f=
e
—
L
9
39
8
10
it
12
Umagutsu (horse-
shoe made of
straw).
Ushigqutsu (straw
shoes for cows
and oxen).
Waranji (straw
sandals).
Zor. (a kind of
sandals made of
straw).
Nawa (rope).
107
1
bo
108
93
13 | Waraboki (straw
broom). 1
14 | Momi (unhulled
| rice). 3
15 | Daizu (Soja hispida). 2
16 | Shozu (Phaseolus
radiatus). 2
17a| Photograph of pu-
pils at work. 7
17} Drawing of pupils
at work. (i
18 | Photograph of a
horse suffering
from disease. 1 tablet.
19 | Calendar of the Ag-
ricultural School .
in the Prefecture
of Miyagi. i
20 | Hand-book for pu-
pil’s use. 1
21 | Note-book for re-
gistering the daily
condition of silk-
worms. 1
22 | Kome (rice). 1
23 | Omugi (barley). 1
24 | Komugi (wheet). 1
25 | Hadakamugi (rye). 1
26 | Daizu (Soja hispida). 1
27 | Sandy oat. 1
28 | Brassica chinensis. 1
29 | Hay. 12 kinds.
30 | Silkworm cocoons. 3
31 | Tea. 1
32 | Takenoko (bamboo
sprouts). 1
383 | Mikwan (a kind of
orange). 1
39
39
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
Kinkwan (Citrus
japonica). 1
Specimens of silk ©
worms suffering
from disease. 10
Botanical specimens. 300
Photograph. 2
ditto. a
Calendar of the
Sapporo Agricul-
tural School. 100
Plan of the lands
belonging to the
Sapporo Agricul-
tural School. ke
Plan of the lands
for practical train-
ing in agricul-
ture, attached to
the Sapporo Ag-
ricultural School. 4):
Plan of the Botanic
Garden and Mu-
seum attached to
the Sapporo Ag-
ricultural School. 1
Kome (rice). i
Silkworm cocoons. 1 case.
Daizu (Soja hispida). = 1-
(Withdrawn).
A kind of castrating
instrument. 5
Urushimat (rice). 9
Mochigome (glutinous
rice). 10
Hadakamugi (rye).
Komugi (wheat).
Omugi (barley). 11
Karasumugi (a kind
of oats). Ly
a:
54 | Saito (a kind of L 58 | Raw silk.
bean). 1j|,, 59 | Thread. made of
Daizu (Soja hispida). 8 hemp.
56 | Seeds of hemp. 1 |, 60) Wool.
57 | Silkworm cocoons. 2
GROUP 149, CLASS 853.
STATISTICAL TABLES
1 | Table showing the
number of in-
structors and
teachers, students
and pupils, etce.,
in the govern-
ment, public and
_ private schools. 1
2 | Comparative table
showing the num- M
ber of pupils
receiving instruc-
tion per centum of
the school popula-
tion. ‘
3.| Table showing the
number of pupils
of government,
public, and _ pri-
99
vate special
schools, with re- .
ference to the sub-
jects of study. AH oss
Table showing the
number of teach-
AND CHARTS.
ers, pupils, and
eraduates in the
various institu-
tions under the
direct control of
the Imperial
Japanese Depart-
ment of Educa-
tion.
4 | Table showing the
amount of the
income and ex-
penditure of the
public elementary
schools.
5 | Table showing the
: number of male
and female pupils
receiving instruc-
tion per centum of
the school popula-
tion.
6 | Table showing the
number of gradu-
ates of the Im-
109
110
29
12
13
14
18
19
20
21
22
23
24
perial University,
Japan.
Plan of the Imperi-
al University.
Plan of the Library.
of the Imperial
University.
Plan of the Law
and Literative
Colleges.
Plan of the Engi-
neering College.
Plan of the Science
College.
Plan of the Botanic
Garden attached
to the Science
College.
Plan of the Bio-
logical Class
Rooms of the In-
perial University.
Plan of the Agri-
cultural College.
Plan of the Higher
Normal School.
Plan of the Higher
Female Normal
School.
Plan of the Higher
Commercial
School.
Plan of the First
Higher Middle
School.
Plan of the Second
Higher Middle
School.
25
26
27
28
29
30
31
30
34
35
Plan of the Third
‘Higher Middle
School.
Plan of the Fourth
Higher Middle
School.
Plan of the Fifth
Higher Middle
School.
Plan of the Yama-
guchi Higher
Middle School.
Plan of the Kago-
shima Higher
Middle School
(Zoshikwan).
Plan of the Tokyo
Technical School.
Plan of the Tokyo
Fine Art School
and the Tokyo
Library.
Plan of the Tokyo
Academy of
Music.
Plan of the Tokyo
Blind and Dumb
School.
Outlines of Modern
Education in
Japan.
Nineteenth Annual
Report of the
Minister of State
for Education.
500 vols.
1 case.
lil
GROUP 149. CLASS 855.
TEXT BOOKS.
“Shogaku Yomi- Elementary
kaki Kyojusho” Schools). 5 vols.
(Elementary Read- M 9 | “ Koto Shogaku
Rekishi (History
for Higher Ele-
ing and Writing). 2 vols.
“Shogaku Tokuhon”’ |
(Elementary Read- a mentary Schools). 3 ,,
ers). 4 ,, ||, 10] English Readers. 5 ,,
“Shogaku Shiuji- » 11{| Elementary Gym-
hon” (Copy-book nastics. 1 ieee
for Elementary » 12} “Kagaku Kyokwa-
Schools). 3) sho” (Text-book
“ Tokusho Nyaimon of Inorganic
(Readers for Chemistory). 7 ae
Beginners). 1, |, 18] “Kikagaku Kyo-
“Junjo Shogaku kwasho” (Text-
Tokuhon”’ (Read- book of Geome-
ers for Ordinary try). 2 aan
Elementary », 14 “ Rinri Sho” (Morals).
School). ‘a 1a
7 enegeee Shuji- » 15| “Nippon Bunmei-
sho” (Copy-book shiryaku” (Brief
for Elementary History of the
Schools). i 47 Civilization of
“Junjo Shogaku Japan). ane
Sakubun Kydju 2 he,
Yésho” (Com- ae le aite Pees Kyoiku-
position for Ele- shi (History of
mentary Schools). Beuca onan Js:
3 vols. pan). As
“ Koto Shogaku Paes Russian-Japanese
Tokuhon” (Read- Dictionary. 2»
ers for Higher » 18 | Dobutsu Tstkai |
112
(Elementary Bo- . M 23 | “ Genkai” (Japanese :
tany). 2 vols. Dictionary), — by )
eae} Ditto “(Vol TL)... 25, F. Otsuki. uf
» 20 | Charts for instruc- » 24] Map of Japan show-—
tion in elementary ing some facts re-
reading and com- lating to Educa-
position. 61 tion. ]
» lL | Charts for instruc- » 25 | Copy-book for
tion in Arithme- Drawing, for Ele-
tic for Elemen- mentary Schools.
tary Schools. 18 8 vols.
» 221} Chart for instruc- » 26 | Text-book of Ele-
tion in reading mentary Botany,
for elementary by Takata and
schools. 1 Takahashi. 16°33
rh oS 0 Oe 0 eee
THE EDUCATIONAL SOCIETY OF JAPAN.
O 1 { A short Account of educationists of
the Educational Japan. 3
Society of Japan. 90/0 4] “Kyoikukwa Hik-
pe 2 | Description of the kei” (Hints to
Grand Meeting of Educeationists). 3
the Educational a 5 | Historical picture. 2
Society of Japan. Bethe 7 | Journal of the Edu-
i 3 | Report of the Meet- cational Society
ing of all the of Japan. | 20
ess THE END. otto
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